Qt^A-^^-^'      /f'^V^^t.^: 


THE   BOOKLOVERS'  EDITION 


AN    I  N  DEX 

TO  THE 

Mork6  of  Sbaf^espeare 

GIVING 

References  by  Topics  to  Notable  Passages  and  Signifi- 
cant Expressions ;  Brief  Histories  of  the  Plays  ; 
Geographical  Names   ami  Historical   Inci- 
dents;  Mention  of  all  Characters  and 
Sketches  of  Important  Ones 

Together  with  Explanations  of  Allusions  and 
Obscure  and  Obsolete  Words  and  Phrases 

BY 

EVANGELINE   M.   O'CONNOR 


NEW    YORK 

THE   UNIVERSITY  SOCIETY 

PUBLISHERS 


Copyright,  1887, 
By  D.  Appleton  and  Company 


:^Q^ 


9^ 


P  K  E  FA  C  E 


It  has  been  my  intention  to  refer,  in  the  following 
pages,  to  every  passage  of  any  importance  under  the  word 
that  best  expresses  its  subject,  whether  that  word  is  in  the 
text  or  not,  and  in  cases  of  doubt  as  to  what  word  a  pas- 
sage would  be  looked  for  under,  I  have  entered  it  under 
two  or  more.  But,  that  significant  expressions  may  be 
found  readily,  I  have  also  indexed  under  their  most 
prominent  word  all  that  seemed  to  me  to  be  such.  To 
have  indexed  all  expressions  under  their  principal  words, 
would  have  been  to  make  a  phrase-concordance,  which 
we  already  have,  and  would  defeat  the  aim  of  this  book  by 
overloading  it  and  wearying  the  student  with  references 
to  a  mass  of  unimportant  allusions.  Here  the  question  of 
judgment  necessarily  comes  in,  and  I  may  have  omitted 
some  references  that  a  better  editor  would  deem  as  sig« 
nificant  as  many  that  are  included.  I  trust,  however, 
that  references  to  passages  of  importance  under  each  topic 
will  not  be  found  wanting. 

In  order  to  make  the  book  a  convenient  manual,  and 
include  information  that  a  student  of  Shakspere  needs 
but  would  otherwise  only  find  scattered  through  a  great 
number  of  books,  I  have  given  short,  outline  histories  of 
the  plays,  and  sketches  of  the  principal  characters,  with 
brief  extracts  from  the  ablest  critics.  In  the  case  of  his- 
torical characters  and  events,  I  have  g  'en  dates  and 
1 


iv  PREFACE, 

statements  of  tlie  facts  as  found  in  history.  The  expla- 
nations of  allusions,  of  unusual  words  and  phrases,  and 
of  words  used  in  obsolete  or  peculiar  senses,  will  be  valu- 
able, I  believe,  to  the  younger  class  of  readers.  Under 
some  general  heads  —  as  '^ Bible,"  '* Diseases,"  "Law," 
*' Omens,"  and  "Proverbs"— I  have  grouped  together 
references  that  will  enable  students  to  consult  as  a  whole 
Shakspere's  expressions  and  allusions  to  the  sciences  of 
law  and  medicine,  to  the  Bible,  and  to  the  folk-lore  of 
his  time  as  expressed  in  proverbs  and  popular  supersti- 
tions. Under  "Order  and  Dates  of  the  Plays,"  and 
"Sources,"  I  have  repeated  information  that  is  given 
in  the  various  histories  of  the  plays,  so  as  to  place  it  in 
convenient  form  for  comparison. 

It  may  at  first  sight  seem  unnecessary  to  add  another 
to  the  multitude  of  books  on  Shakspere's  works,  and  aids 
to  the  study  of  them.  But  I  think  it  will  be  found 
that  no  other  of  the  same  character — none  that  is  prop- 
erly an  index,  as  distinguished  from  a  concordance — 
has  been  published.  One  prepared  by  Francis  Twiss,  in 
two  volumes  (London,  1805),  involved  a  vast  amount  of 
labor,  but  was  rendered  almost  useless  by  over-condensa- 
tion. It  was  essentially  a  concordance,  as  its  full  title 
shows:  "A  Complete  Verbal  Index  to  the  Plays  of 
Shakspere ;  adapted  to  all  editions.  Comprehending 
every  substantive,  adjective,  verb,  participle,  and  adverb 
used  by  Shakspere."  With  the  exception  of  about  two 
hundred  copies,  the  entire  impression  was  destroyed  by 
fire,  and  the  book  is  now  so  rare  that  a  copy  has  been 
sold  for  over  seven  pounds.  Samuel  Ayscough's  Index 
(London,  1790)  was  made  for  a  special  edition  of  the 
plays.  Though  long  since  out  of  print,  it  is  not  very 
rare  ;  but  this  also  is  simply  a  concordance.  Mrs.  Cow- 
den  Clarke's  elaborate  and  exhaustive  concordance  (Lon- 
don, 1846)  is  well  known;  but  it  is  rather  costly,  and 


PREFACE.  V 

though  admirable  for  all  that  it  professes  to  be,  is  not  an 
index  to  anything  but  words.  Davenport  Adams's  con- 
cordance (London,  1885)  is  less  bulky  than  Mrs.  Clarke's, 
but  still  clings  closely  to  the  purely  verbal  plan.  Other 
books  give  quotations  by  topics — notably  John  Bartlett's 
excellent  ^^Shakspeare  Phrase -Book"  (Boston,  1882) — 
and  some  editions  of  the  works  give  histories  and  sketches 
of  the  plays  ;  but  the  combination  of  information  here 
presented  is  new,  and  I  have  aimed  to  include  those  points 
which  the  reader  would  most  desire  to  have  in  compact 
and  convenient  form  for  reference. 

E.  M.  O'C. 

Rochester,  N.  Y.,  February  23,  1887. 


VI 


FACSIMILES, 


From  Samuel  Ayscough^s 


Index  to  the  Remarkable  Passages  and  Words 
of  by  Shakspeare^ 


Medicine.    The  miserable  have  no  other  medicine  but  only  hope  Mens,  for  Meas. 

—  To  apply  a  moral  medicine  to  a  mortifying  mischief       Much  Ado  About  Noth. 

—  I  have  seen  a  medicin  thafs  able  to  breathe  life  into  a  stone,  quicken  a  rock,  and 

make  you  dance  canary  with  sprightly  power  and  motion  AlVs  Well 

—  Camillo,— preserver  of  my  father,  now  of  mel  the  medicin  of  our  house 

Winter's  Tale 
~  Meet  we  the  medicin  of  the  sickly  weal  Macbeth 

—  That  great  medicine  hath  with  his  tinct  gilded  thee  Antony  and  Cleop. 

—  Work  on,  my  medicine,  work!  thus  credulous  fools  are  caught  Othello 


s  Made  Use 

s. 

P. 

C.  L. 

1 

3 

87 
124 

1  26 

2  46 

1 

283 

2  87 

3 
2 

5 

1 

355 

38 

TT3 

1067 

1  54 
120 
1,  2 
220 

From  Francis  Twiss^s  "  Index  to  the  Flays  of  ShakspeareV 


Medicme(s).  M.  W.  iii.  3.  M. 
M.  ii.  2.  iii.  i.  M.  A.  i.  3.  v. 
I.  M.  N.  D.  iii.  2.  A.  L.  ii. 
7.  A.  W.  i.  3.  ii.  I.  V.  3.  J. 
V.  I.  H.  4.  So  P.  iii.  I.  iv.  4. 


T.    C.  V.    II.   A.  C.  i.  5.  C}, 
V.  5.  L.   iv.  7.  R.  J.  ii.  3.  H. 
V.  2.  O.  iv.  I. 
Medicine(v).  Cy.  iv.  2.  O.  iii.  3. 


From  Mary  Cowden  Clarke's  "  Complete  Concordance  to  Shakspere^ 


MEDICINE— obey  this  medicine Merry  Wive). 

yet  a  kind  of  medicine  in  itself.  ..Meas.  for  Meaa. 
have  no  other  medicine,  but  only  hope        — 
a  moral  medicine  to  a  mortifjing. . .  .Much  Ado. 
would  give  preceptial  medicine  to  rage        — 
out  loathed  medicine !  hated  potion .  Jfi'ii.  If.  Dr. 

patiently  receive  mj  medicine As  you  Like  it. 

else  Paris,  and  the  medicine. . .  All's  Wei.', 

I  have  seen  a  medicine  that's  able  to,  — 

the  tinct  and  multiplying  medicine. .  — 

the  medicine  of  our  house  ! Winter's  Tale. 

let's  make  us  medicines  of  our  great.  ...Macbeth. 
meet  we  the  medicine  of  the  sickly.  ...       — 

that  present  medicine  must  be King  John. 

medicines  to  make  me  love  him 1  Henry  IV. 


MEDICINE— I  have  dnmk  medicines ;  Poins ! 

1  Henry  IV. 
good  advice,  and  little  medicine. . .  .2  Henry  IV. 
preserving  life  in  medicine  potable . .  — 

medicine  for  my  aching  bones  l.Truil.  and  Cress. 
that  great  medicine  hath  with  his.^w.  and  Cleo. 
great  griefs,  I  see,  medicine  the  less. .  Cymbtline. 
by  medicine  life  may  be  prolonged. ..  — 

hang  thy  medicine  on  my  lips  Lear. 

{Kilt.]  if  not,  I'll  ne'er  trust  medicine — 

residence,  and  medicine  power.  .Romeo  and  Jul. 

no  medicine  in  the  world  can  do  thee Hamlet. 

and  medicines  bought  of  mountebanks.. .  Othello. 
shall  ever  medicine  thee  to  that  sweet.. .      — 
work  on,  my  medicine,  work ! — 


ii. 

iii. 

V, 

11 

i. 

iv. 

iv.' 

V. 

IL 

V. 

L 

iii. 

iv. 

From  W.  H.  Davenport  Adams's  "  Concordance  to  the  Plays  of  Shakespeare.** 

Medicine.      The  miserable  have  no  other  medi- 
cine But  only  hope.    Mea.for  Mea.  III.  1. If 

the  rascal  have  not  given  me  medicines  to  make 
me  love  him,  I'll  be  hanged,     i  Hen.  IV.  11.^  2. 

To  apply  a  moral  medicine   to   a   mortifying 

mischief.  Much  Ado  Ab.  Noth.  I.  3.-; — I  have 
seen  a  medicine  that's  able  to  breathe  life  into  a 
stone,  quicken  a  rock,  and  make  you  dance 
canary  with  sprightly  power  and  motion !     A  IPs 

Well.,  IL  I. Camillo,  Preserver  of  my  Father, 

now  of  me  !     The  medicine  of  our  house.     IVint. 

Tale.,  IV.  3. Meet  we  the  medicine  of  the  sickly 

weal?     Macb.  V.  2. That  great  medicine  hath 

With  his  tinct  gilded  thee.     A  nt.  and  Cleo.  I.  5. 

Work  on,  My  medicine,  work  !  thus  credulous 

fools  are  caught.     0th.  IV.  i- 


ANALYTICAL  INDEX 

TO 

SHAKSPEEE'S    WOEKS 


Aaron,  a  Moor,  a  character  in  Titus  Andronicus,  introduced  in 
^.,  1  or  2,  as  a  prisoner.  He  is  a  lover  of  Tamora,  Queen  of  the 
Goths.  In  a.  1,  he  declares  his  designs  against  Rome  and  the  em- 
peror :  in  ii.  3,  hides  gold ;  discloses  his  plans,  iv.  2  ;  kills  the  nurse, 
iv.  2;  exchanges  his  child,  iv.  2;  avows  his  deeds,  v.  1;  his  sen- 
tence, V.  3.  He  is  a  hideous  and  unnatural  character,  cursing  the 
day  in  which  he  has  not  done  "  some  notorious  ill." 

Abbess.     See  Emilia. 

Abbey,  an,  scene  of  a  part  of  the  Comedy  of  Errors,  Act  v. 

Abbeys.     See  Swinstead  and  Westminster. 

Abbot  of  Westminster.     See  Westminster,  Abbot  of. 

Abbots,  robbery  of,  for  expenses  of  war.  King  John,  Hi.  3. 

Abdication,  of  a  sovereign,  Ei chard  II.,  iv,  1. 

Abel,  Richard  II.,  i.  1;  I.  Henry  VI.,  i.  3. 

Abergavenny,  George  Neville,  Lord,  a  character  in  Henry  VIII., 
introduced  in  i.  1.  He  was  suspected  of  taking  part  in  Suffolk's  con- 
spiracy in  the  reign  of  Henry  VII.,  but  afterwards  became  a  favour- 
ite with  the  king,  as  he  was  also  with  Henry  VIII. 

Abhorrence.     See  Hatred. 

Abhorson,  an  executioner  introduced  in  3Ieasure  for  Pleasure, 
iv.  2,  who  speaks  of  his  occupation  as  a  mystery. 

Abjects  (menials),  Richard  III,  i.  1. 

Able  (to  be  responsible  for),  Lear,  iv.  6. 

Abode,  abodement  (to  bode,  an  evil  omen),  III.  Henry  VI.,  iv, 
7;  V.  G. 

Abraham.     See  under  Bible. 

Abraham,  Montague's  servant  in  Romeo  and  Juliet,  ajjpears 
in  i.  1. 


2  INDEX  TO  SHAKSPERE'S   WOUKS. 

Abram  (flaxen  or  auburn  f),  Coriolanus,  ii.  3 ;  Romeo  and 
Juliet,  ii.  1. 

Absence,  doted  on,  ^lerchant  of  Venice,  i.  2 ;  of  lovers,  Othello, 
Hi.  Jf. ;  effect  of,  Antony  and  Cleopatra,  i.  4  /  love  in,  Sonnets  xcvii.^ 
xcviii. 

Absey-book  (ABC  book),  King  John,  i.  1. 

Absolute  (decided).  Measure  for  Pleasure,  Hi.  1. 

Absolute  (perfect),  Pericles,  iv.,  prologue. 

Absolution,  death  without,  Hamlet,  i.  5. 

Absyrtus.     See  Medea. 

Aby  (atone  for).  Midsummer- Night's  Dream,  Hi.  2. 

Academe,  at  the  court  of  Navarre,  Love's  Labour's  Lost,  i.  1. 

Accidents,  guilty,  A  Winter's  Tale,  iv.  3  ;  have  hurt  my  brother, 
Hamlet,  v.  2  ;  moving,  Othello,  i.  3. 

Accited  (summoned),  Titus  Andronicus,  i.  1. 

Accommodated,  definition  of,  //.  Henry  IV.,  Hi.  2 ;  ridiculing 
the  cant  use  of  the  word. 

Account,  the  final,  with  Heaven,  King  John,  iv.  2 ;  Richard 
II,  i.  1 ;  Hamlet,  i.  5  ;  Hi.  3. 

Accusations.     See  Crime. 

Acheron,  a  river  of  hell,  3Iidsummer- Night's  Dream,  Hi.  2  ;  Ti- 
tus Andronicus,  iv.  3 ;  Macbeth,  Hi.  5.. 

Achievement,  never  answers  to  expectation,  Troilus  and  Cres- 
sida,  i.  3. 

Achilles,  a  general  of  the  Greeks,  character  in  Troilus  and 
Cressida,  introduced  in  the  first  scene.  In  the  third,  his  pride  is 
described  by  Ulysses,  who  plans  to  humble  it  by  sending  Ajax  to 
fight  with  Hector ;  his  quarrel  with  Agamemnon,  ii.  3.  In  Hi.  3, 
Ulysses  once  more  plots  against  his  vanity.    In  v.  9,  he  slays  Hector. 

"  Shakspere  has  allowed  the  Homeric  AchiUes,  who  purchased 
lasting  fame  with  a  short  life,  to  degenerate  into  a  vain,  morbidly 
proud,  and  effeminate  mocker." — Gervinus. 

Allusions  to  Achilles :  his  spear,  //.  Henry  VI,  v.  1 ;  in  a  paint- 
ing, Lucrece,  I.  1424.. 

Achitophel.     See  Bible. 

Aconitum,  strong  poison,  II  Henry  IV.,  iv.  4. 

Acquaintance,  cut  in  adversit^t*,  Twelfth  Night,  v.  1. 

Actaeon  (a  hunter  changed  into  a  stag  by  Diana),  Merry  Wives 
of  Wind.sor,  H.  1;  Hi.  2;  Twelfth  Night,  i.  1;  Titus  And  route  us, 
ii.  3. 

Acting,   advice  on,  Hamlet,  Hi.  2 ;   representations  of,  Love's 


INDEX  TO  SEAKSPERE'S   WORKS.  3 

Labour  s  Lost,  V.  2,  the  Nine  Worthies  ;  JIid.summer-Ki(/Jtf\s  Dream, 
Pyramus  and  Thisbe ;  Hamlet,  the  murder  of  Gonzago. 

Action,  prompt,  Macbeth,  i.  7,  "  If  'twere  done,"  etc. ;  IIL 
Henry  VI.,  v.  4,  "  Wise  men  ne'er,"  etc. ;  Troilus  and  Cressida,  in. 
3.    See  also  Promptness. 

Actions,  criticism  of,  Henry  VIII.,  i.  2 ;  cheeks  in  the  highest, 
Troilus  and  Cressida,  i.  3 ;  evil  and  good,  Julius  Ccesar,  iii.  2. 

Action-taking  (suing  at  law  instead  of  fighting),  Lear,  ii.  2. 

Actium,  battle  of  (31  b.  c),  Antony  and  Cleopatra,  iii.  8-10  ;  iv. 
7,  8,  10-12. 

Activity,  enjoyment  in,  Troilus  and  Cressida,  i.  2 ;  Macbeth^ 
ii.  3 ;  Cymbeline,  iv.  4. 

Actor(s),  a  strutting,  Troilus  and  Cressida,  i.  3 ;  best  in  the 
world,  Hamlet,  ii.  2 ;  better  to  have  a  bad  epitaph  than  their  ill 
report, — feigned  passion  of  an,  Hamlet,  ii.  2 ;  abstracts  and  brief 
chronicles  of  the  time,  Hamlet,  ii.  2 ;  advice  to,  Hamlet,  iii.  1 ;  an 
imperfect.  Sonnet  xxiii. ;  the  author's  dissatisfaction  with  the  pro- 
fession of,  expressed,  Sonnets,  ex.,  cxi. 

Adallas,  King  of  Thrace,  Antony  and  Cleopatra,  iii.  6. 

Adam,  penalty  of.  As  You  Like  It,  ii.  1 ;  first  that  bore  arms, 
Hamlet,  v.  1.     See  Bible. 

Adam,  an  officer,  apparently,  spoken  of  in  Comedy  of  Errors, 
iv.  3. 

Adam,  called.  Much  Ado  about  Nothing,  i.  1 ;  Adam  Bell,  an 
outlaw,  famous  for  his  archery. 

Adam,  the  faithful  old  servant  in  As  You  Like  It,  introduced  in 
i.  1,  who  follows  the  fortunes  of  Orlando.  In  ii.  3,  he  offers  his  sav- 
mgs  to  his  young  master  ;  in  ii.  6,  he  is  famishing  in  the  forest ;  in 
a.  7,  he  is  brought  in  before  the  duke  and  fed. 

Adamant  (magnet),  Midsummer- NigJifs  Dream,  ii.  1. 

Adder,  the,  in  a  bright  day,  Julius  Ccesar,  ii.  1 ;  deafness  of  the, 
Sonnet  exit. 

Addition  (titles),  AlVs  Well  that  Ends  Well,  ii.  3  ;  Troilus  and 
Cressida,  ii.  3 ;  Lear,  ii.;  Hamlet,  i.  4.;  Othello,  iv.  1,  and  else- 
where; (attributes),  boasts  of  their,  Troilus  and  Cressida,  i.  2. 

Adhere  (fit),  Macbeth,  i.  7. 

Adieus.     See  Parting. 

Admiration  (wonder),  Lear,  i.  4;  Hamlet,  iii.  2 ;  and  in  va- 
rious places. 

Adonis,  story  of,  in  Venus  and  Adonis.  His  death,  I.  1030; 
flower  of,  /.  1168.    See  Anemone.     Allusions  to  x\donis :    Taming 


4  INDEX  TO  SHAKSPERE'S    WORKS. 

of  the  Shrew,  Induction,  2 ;  Sonnet  liii. ;  The  Passionate  Pilyrim, 
iv.,  vi.,  ix.,  xi. 

Adonis's  gardens,  /.  Henry  VI,  i.  5  or  6.  These  were  "nothing 
but  portable  earthen  pots,  with  some  lettuce  or  fennel  growing  in 
them.  On  his  yearly  festival,  every  woman  carried  one  of  them  in 
honour  of  Adonis,  because  Venus  had  once  laid  him  in  a  lettuce-bed. 
The  next  day  they  were  thrown  away." 

Adoption,  of  children,  AlVs  Well  that  Ends  Well,  i.  3. 

Adrian,  a  lord,  character  in  Tlie  Tempest,  introduced  in  ii.  1. 

Adriana,  wife  of  Antipholus  of  Ephesus,  in  the  Comedy  of  En^ 
rors,  introduced  in  ii.  1 ;  made  shrewish  by  jealousy. 

Adriano  de  Armado,  Don.     See  Armado. 

Adriatic  Seas,  rough  as.  Taming  of  the  Shrew,  i.  2. 

Advanced  (lifted).  Twelfth  Night,  ii.  5,  and  elsewhere. 

Adventures,  tales  of,  Othello,  i.  3. 

Adversity,  patience  at  the,  of  others.  Comedy  of  Errors,  ii.  1; 
uses  of,  are  sweet,  As  You  Like  It,  ii.  1 ;  compensations  of,  AlVi 
Well  that  Ends  Well,  iv.  3  ;  Richard  III,  iv.  4;  Cymbeline,  iv.  2; 
false  friends  in,  Henry  VIII.,  ii.  1,  "  Where  you  are  liberal,"  etc. ; 
Troilus  and  Cressida,  Hi.  3;  Timon  of  Athens,  i.  1,  2  ;  ii.  2 ;  Hi.  6; 
iv.2;  Hamlet,  Hi.  2;  Lear,  ii.  4;  fallen  suddenly  on  greatness,  Henry 
VIII,  Hi.  2 ;  winnows  men,  Troilus  and  Cressida,  i.  3 ;  the  noble 
in,  Coriolanus,  iv.  1 ;  melancholy  in,  Timon  of  Athens,  iv.  3. 

Adversity  (one  adverse  or  contrary),  Troilus  and  Cressida,  v.  L 

Advertisement  (admonition),  Much  Ado  about  Nothing,  v.  1 ; 
AlVs  Well  that  Ends  Well,  iv.  3  ;  1.  Henry  IV.,  iv.  1 ;  (intelligence), 
I.  He7iry  IV.,  Hi.  2,  end. 

Advertising  and  holy  (attentive  and  faithful),  Measure  for 
Pleasure,  v.  1. 

Advice,  concerning  friends  and  conversation,  AlVs  Well  that 
Ends  Well,  i.  1;  Hamlet,  i.  3 ;  to  the  wretched,  Comedy  of  Errors, 
ii.  1;  like  water  in  a  sieve.  Much  Ado  about  Nothing,  v.  1;  to  the 
wilful,  and  from  the  dying,  Richard  II,  ii.  1 ;  has  an  effect  contrary 
to  that  intended,  Tlie  Lover's  Complaint,  I.  160. 

Advice  (deliberation),  Titus  Andronicus,  H.  1,  "  She  will  fill  our 
engines  with,"  etc. 

^diles,  Coriolanus,  Hi,  1.  They  had  care  of  the  public  build- 
ings, streets,  processions,  etc. 

.ffigeon,  a  merchant  of  Syracuse,  father  of  the  twin  Antipholuses, 
in  the  Comedy  of  Errors. 

JEgle,  Midsummer-NighV s  Dream,  ii.  L 


INDEX  TO  SHAKSPERE'S    WORKS.  5 

Emilia,  mother  of  the  twin  Antipholuses,  in  the  Comedy  of 
Errors,  introduced  in  v.  1,  as  abbess  at  a  convent  in  Ephesus,  which 
she  had  entered  after  losing  her  sons,  whom,  with  her  husband,  she 
finds  in  the  same  scene. 

iEmilius,  a  noble  Roman,  unimportant  character  in  Titus  An- 
dronicus,  introduced  in  iv.  4.. 

iEneas,  one  of  the  Trojan  commanders,  and  leader  of  those  that 
escaped  after  the  siege,  a  character  in  Troilus  and  Cressid  1,  intro- 
duced in  i.  1.  In  ^.  3,  he  brings  Hector's  challenge ;  in  v.  6,  he  is 
said  to  have  been  taken  by  Ajax,  but  he  appears  again  in  v.  10,  leading 
tlie  Trojans.  Allusions  to  ^neas  :  The  Tempest,  ii.  1 ;  II.  Henry 
YI.,  V.  2  ;  Titus  Andronicus,  Hi.  2  ;  Julius  Ccesar,  i.  2  ;  Hamlet,  ii. 
2  ;  Antony  and  Cleopatra,  iv.  12  or  I4. ;  Cymbeline,  Hi.  4. 

-ffiolus,  II.  Henry  VI.,  Hi.  2.     The  god  of  the  winds. 

Aery  (brood),  Richard  III,  i.  3. 

iEsculapius,  Merry  Wives  of  Windsor,  ii.  3:  The  god  of  phy- 
sicians. 

-ffison,  3Ierchant  of  Venice,  v.  1.  The  father  of  Jason,  restored 
by  Medea  to  youth. 

JEsop,  III.  Henry  VI,  v.  5.  The  fabulist  is  said  to  have  been 
humpbacked,  and  Richard  is  called  so  on  account  of  his  de- 
formity. 

Aflfectation  in  language,  Zone's  Labour's  Lost,  v.  2 ;  "Taffeta 
phrases,"  etc.,  Hamlet,  v.  2.  Osric's  is  travestied  by  Hamlet  in  the 
same  scene  ;  called  affection.  Love's  Ldboufs  Lost,  v.  2. 

Affectioned  (affected),  Twelfth  Night,  ii.  3. 

Affections,  human.  The  Tempest,  v.  2 ;  wrestle  with.  As  Yon 
Like  It,  i.  3  ;  intention  of,  A  Winter's  Tale,  i.  2.     See  Love. 

Affects  (affections),  not  mastered  by  might.  Love's  Labour's  Lost, 
i.  1. 

Aflfted  (affianced).  Taming  of  the  Shrew,  iv.  4. 

Affined  (of  the  same  sort),  Troilus  and  Cressida,  i.  3 ;  (under 
obligation),  Othello,  i.  1 ;  ii.  3. 

Affliction,  cannot  subdue  the  mind,  A  Winter's  Tale,  iv.4;  sweet, 
A  Winter's  Tale,  v.  3;  religion  in,  //.  Henry  VI.,  ii.  1;  enamoured, 
Romeo  and  Juliet,  Hi.  3  ;  a  test  of  men,  Troilus  and  Cressida,  i.  3  ; 
Goriolanus,  iv.  1 ;  patience  in,  Othello,  iv.  2.     See  Sorrow. 

Affy  (have  faith),  Titus  Andronicus,  i.  1. 

Africa,  II.  Henry  IV.,  v.  3  ;  Coriolanus,  i.  8. 

Agamemnon,  brother  of  Menelaus,  and  general-in-chief  of  the 
Greeks  at  the  siege  of  Troy;  character  in  Troilus  and  Cressida,  in- 


6  INDEX  TO  SHAKSFERE'S   WORKS. 

troduced  in  i.  3.  In  the  same  scene,  Ulysses  describes  to  him  how 
he  is  niin)icked  by  Patroclus,  wlio  puts  on  his  "  topless  deputation  '' 
(deputed  power  in  which  he  has  no  superior),  to  amuse  Achilles ; 
allusions  to  him,  11.  Henry  IV.,  ii.  ^;  Henry  V.,  Hi.  6 ;  III.  Henry 

VI.,  a.  2. 

Agate,  Much  Ado  about  Notliing,  in.  1;  II.  Henry  IV.,  i.  2. 
A  small  person,  so  called  in  allusion  to  the  little  figures  cut  in  agate, 
for  rings,  etc. 

Age,  a  degenerate,  Julius  Caesar,  i.  3  ;  one  poor  retiring  minute 
in  an,  Lucrece,  I.  962 ;  pattern  of  the  worn-out,  Lucrece,  I.  1350; 
peace  proclaims  olives  of  endless,  Sonnet  cvii. 

Age,  old,  infirmities  of,  Comedy  of  Errors,  v.  1;  Measure  for 
Pleasure,  Hi.  1;  wit  out  in.  Much  Ado  about  Nothing,  Hi.  5  ;  Comedy 
of  Errors,  v.  1;  spirit  in.  Much  Ado  about  Nothing,  iv.  1,  "  Time  hath 
not  yet,"  etc. ;  frosty,  but  kindly,  As  You  Lilce  It,  ii.  3  ;  full  of  wise 
saws,  As  You  Like  It,  ii.  7 ;  not  desired,  AlVs  Well  that  Ends  Well, 
i.  2  ;  avarice  inseparable  from,  II.  Henry  IV.,  i.  2  ;  characters  of,  II. 
Henry  IV.,  v.  5 ;  alacrity  and  cheerfulness  declined  in,  Richard  III., 
V.  3  ;  conduct  becoming,  //.  Henry  IV.,  v.  5  ;  weary,  Henry  VIIL,  iv. 
2 ;  mimicry  of,  Troilus  and  Cressida,  i.  3 ;  good  opinion  purchased 
by,  Julius  Ccesar,  ii.  1;  ingratitude  in,  Timon  of  Athens,  ii.  2,  "  You 
gods,  reward,"  etc. ;  what  should  accompany,  Macbeth,  v.  3 ;  too 
politic,  slanders  on,  Hamlet,  it.  2 ;  declined  into  the  vale  of  years, 
Othello,  Hi.  3;  infirmities  of,  Lear,  i.  1,  3;  ii.  4;  reverence  for, 
Lear,  i.  2,  letter  ;  unnecessary,  Lear,  ii.  4  ;  full  of  grief,  Lear,  ii.  4  ; 
cannot  wither,  Antony  a7id  Cleo]3atra,  ii.  2  ;  vigour  in,  Antony  and 
Cleopatra,  iv.  8  ;  childless.  Sonnets  ii.,  v.,  vii.,  xi. ;  marks  of,  Sonnets 
ii.,  v.,  xxii.,  Ixii.,  Ixiii.,  Ixvii. ;  the  autumn.  Sonnet  Ixxiii. ;  in  love, 
Sonnet  cxxxix.;  cannot  live  with  youth,  The  Passionate  Pilgrim, 
xii. ;  traces  of  beauty  in.  Lover's  Complaiiit,  I.  10. 

Aged,  movements  of  the,  Romeo  and  Juliet,  ii.  5. 

Ages,  the  seven.  As  You  Lilce  It,  ii.  7. 

Agenor,  daughter  of,  (Europa,)  Taming  of  the  Shreiv,  i.  1.     See 

EUROPA. 

Agincourt,  battle  of  (October  25,  1415),  Henry  V.,  iv.  4,  5,  6, 
7;  allusion  to,  He7iry  V.,  i.,  chorus;  before,  Heiiry  V.,  Hi.  7 ;  iv.  1, 
2,  3;  dead  and  prisoners  of,  Henry  V.,  iv.  8;  thanksgiving  for  vic- 
tory after,  Henry  V.,  iv.  8. 

Aglet-baby  (ornament  carved  like  the  human  form  for  a  pend- 
ant). Taming  of  the  Shreiv,  i.  2. 

Agnize  (acknowledge),  Othello,  i.  3. 


INDEX  TO  SHAKSPERE'S    WORKS.  ■      7 

Agrippa,  character  in  Antony  and  Cleopatra;  introduced  in  ii. 
2,  a  friend  of  Cgesar. 

Aguecheek,  Sir  Andrew,  character  in  Twelfth  Night.  He  is  a 
fool  and  a  coward  of  an  original  type,  so  conscious  of  his  folly  and 
cowardice  that  the  effect  is  almost  pathetic.  He  is  the  boon  com- 
panion of  Sir  Toby  Belch,  who  makes  a  butt  and  a  tool  of  him.  See 
Slender. 

Agues,  in  March,  1.  Henry  IV.,  iv.  1. 

Ahitophel.     See  Bible. 

Aim,  to  cry,  Merry  Wives  of  Windsor,  ii.  3 ;  Hi.  1;  King  John, 
ii.  1.    An  archery  term,  meaning  to  encourage. 

Air,  a  spirit  all  of.  The  Tempest,  v.  1 ;  the  empty,  vast,  and  wan- 
dering, Richard  III,  i.  4.. 

Ajax,  one  of  the  Grecian  commanders,  of  great  size  and  courage, 
but  dull  and  brutish  in  mind,  a  character  in  Troilus  and  Cressida, 
introduced  in  ii.  1.  In  i.  2,  Pandarus  describes  him  ;  in  i.  3,  Ulysses 
speaks  of  his  insubordination  ;  in  ii.  1,  he  is  railed  at  by  Thersites ; 
flattered  by  Agamemnon  in  ii.  3  ;  in  Hi.  3,  it  is  decided  that  he  shall 
fight  with  Hector,  and  in  iv.  5  they  fight. 

"  The  hand  is  masterly  with  whdch,  in  the  delineation  of  AJax, 
physical  strength  is  exhibited  intensified  at  the  expense  of  mental 
power  ;  the  abundance  of  similes  and  images  with  which  the  rare  but 
simple  nature  is  described  is  inexhaustible  ;  the  discernment  is  won- 
derful with  which  all  animal  qualities  are  gathered  together  to  form 
this  man,  at  once  both  more  and  less  than  human  ;  Mars's  idiot,  a 
purblind  Argus,  and  a  gouty  Briareus." — Gervixus. 

Allusions  to  Ajax:  one  of  the  Nine  Worthies,  Love's  Labour's 
Lost,  V.  2;  allusions  to  his  anger  when  the  armour  of  Achilles  was 
given  to  Ulysses,  Love's  Labour's  Lost,  iv.  3 ;  II.  Henry  VL,  v.  1 ; 
other  allusions,  Taming  of  the  Shrew,  Hi.  1;  Lear,  ii.  2;  Antony 
and  Cleopatra,  iv.  12  or  14,;  Cymbeline,  iv.  ^;  in  a  painting,  The 
Rape  of  Lucrece,  I.  139^.     See  also  Telamon. 

Alarbus,  son  of  Tamora  in  Titus  Andronicus,  appears  in  i.  1  or 
2,  as  a  prisoner  of  the  Romans,  only  to  be  taken  away  and  sacrificed 
to  the  shades  of  the  dead  sons  of  Titus.     He  does  not  speak. 

Albany,  Duke  of,  Goneril's  husband,  in  King  Lear,  introduced 
in  the  first  scene.  He  is  shocked  and  grieved  at  the  treatment  of 
the  old  king,  but  is  too  weak  to  interfere. 

Albret,  Charles  d'.     See  Constable  of  France. 

Alchemist,  Timon  of  Athens,  v.  2  ;  the  sun  an,  King  Jolin,  Hi.  1 

Alchem.y,  Julius  Ccesar,  i.  3,  end. 

Alcibiades  (b.  c.  454-404),  an  Athenian  general,  character  in 


8  INDEX  TO  SHAKSPERE'S   WORKS. 

Timo7i  of  Athens,  introduced  in  i.  1 ;  banished,  in.  6 ;  before  the 
walls  of  Athens,  v.  4..  Having  conquered  the  enemies  of  Athens  and 
been  repaid  only  with  ingratitude  and  banishment,  he  takes  up  arms 
against  his  country  and  forces  it  to  render  him  justice.  His  mode 
of  revenge  is  distinctly  contrasted  with  that  of  the  less  robust  nature 
of  Timon. 

Alcides  (Hercules),  Taming  of  the  Shrew,  Hi.  2  ;  The  Merchant 
of  Venice,  ii.  1;  Hi.  2 ;  King  John,  ii.  1;  I.  Henry  VI.,  iv.  7;  An- 
tony and  Cleopatra,  iv.  10  or  12.     See  Hercules. 

Alderliefest  (dearest  of  all),  //.  Henry  VL,  i.  1. 

Ale,  cakes  and.  Twelfth  Night,  ii.  3. 

Ale,  quibble  on  the  word.  Two  Gentlemen  of  Verona,  ii.  5.  Minor 
church  festivals  were  called  ales. 

Alecto  (one  of  the  Furies),  II.  Henry  lY.,  v.  5. 

Alengon,  the  Duke  of,  a  character  in  /.  Henry  VI.,  spoken  of  in 
i.  1,  first  appears  in  i.  2.  In  v.  4,  York  calls  him  a  "  notorious  Ma- 
chiavel."  He  is  mentioned  in  Henry  V.,  Hi.  5;  his  (supposed)  glove, 
Henry  V.,  iv.  7,  8. 

Alexander,  one  of  the  Nine  Worthies  in  Love's  Labour's  Lost, 
V.  2.  The  Jests  on  the  player,  "  Your  nose,"  etc.,  are  allusions  to 
the  traditions  that  his  head  was  set  obliquely,  and  that  his  body  gave 
out  a  sweet  fragrance ;  his  crown,  A  Winter's  Tale,  v.  1 ;  the  king 
likened  to,  Hnry  V.,  iv,  7. 

Alexander,  character  in  Troilus  and  Cressida,  Cressida's  serv- 
ant, introduced  in  i.  2. 

Alexandria,  a  city  of  Egypt,  scene  of  a  part  of  Antony  and 
Cleopatra. 

Alexas,  an  attendant  of  the  queen  in  Antony  and  Cleopatra,  in- 
troduced in  i.  2  ;  his  revolt,  iv.  6. 

Algiers.     See  Argier. 

Alice,  a  lady  attending  on  the  Princess  Katharine  in  He?iry  V., 
first  appears  in  Hi.  4,  an  amusing  scene,  where  she  is  teaching  the 
princess  English. 

Aliena,  name  assumed  by  Celia  in  As  You  Like  It,  i.  3. 

Alisander.     See  Alexander. 

Alia  nostra  casa,  etc..  Taming  of  the  Sh^ew,  i.  2.  (Welcome 
to  our  house,  niuch-honoured  Signor  Petruchio.) 

Allegiance,  offers  of,  Ki7ig  John,  v.  7 ;  pluck,  from  men's  hearts, 
/.  Henry  IV.,  Hi.  2  ;  crowned  with  faith  and  constant  loyalty,  Henry 
v.,  ii.2:  cold  hearts  freeze,  /.  Henry  VL,  v.  5;  to  a  fallen  lord,  An- 
tony and  Cleopatra,  Hi.  11.    See  also  Loyalty. 


INDEX  TO  SHAKSPERE'S   WORKS,  9 

All-hallowmas  summer,  I.  Henry  1 V.,  i.  2 ;  Indian  summer. 

All  hid,  all  hid,  Lovers  Labour's  Lost,  iv.  3.  A  children's  game, 
perhai^s  hoodman-blind,  or  hide-and-seek. 

Alliance,  sought  with  France,  IlL  Henry  VI.,  Hi.  3 ;  of  Caesar 
and  Antony,  Antony  and  Cleopatra,  ii.  2. 

Alliteration,  the  use  of,  Love's  Labour's  Lost,  iv.  2,  "  to  affect 
the  letter."  , 

Allons  (let  us  go),  Love's  Labour's  Lost,  iv.  3. 

Allow  (approve),//.  Henry  IV.,  Hi.  2;  Troilus  and  Cressida, 
Hi.  2. 

All-Saints'  Day.     See  Hallowmas. 

All-Souls'  Day,  Richard  III.,  v.  L 

All's  Well  that  Ends  Well,  a  comedy  first  published  in  1623, 
and  judged  to  have  been  written  in  its  present  form  about  1601  or 
1602.  But  it  is  supposed  to  be  a  re-cast  of  an  earlier  play  entitled 
"  Love's  Labour's  Won,"  mentioned  by  Meres  in  1598,  though  some 
editors  have  sought  to  identify  that  play  with  lluch  Ado  about 
Nothing,  others  with  Tami^ig  of  the  Shreiv,  and  one  at  least  with 
The  Tempest.  The  general  opinion,  however,  identifies  it  with  this 
play.  The  story  is  from  Boccaccio's  "'Decameron,"  where  it  is  en- 
titled "  Giglietta  di  Nerbona,"  and  was  published  in  an  English 
translation  in  Paynter's  "  Palace  of  Pleasure,"  where  Shakspere  may 
have  got  it.  The  tale  is  followed  quite  closely  in  the  principal  inci- 
dents, but  Shakspere  has  added  several  important  characters — Lafeu, 
Parolles,  and  the  Countess.  The  scene  is  laid  partly  in  France  and 
partly  in  Italy,  and  the  time  is  perhaps  the  fourteenth  century.  Al- 
though repellent  in  its  plot,  this  play  has  some  of  Shakspere's  finest 
passages  and  some  of  his  best  creations  of  character. 

AUycholly  (melancholy),  Two  Oentlemeii  of  Verona,  iv.  2. 

Almanac,  of  my  true  date.  Comedy  of  Errors,  i.  2.  One  by 
whose  birth  he  knew  the  date  of  his  own. 

Almanacs,  allusions  to  weather  prognostications  in,  //.  Henry 
IV.,  ii.  Jf. ,'  Antony  and  Cleopatra,  i.  2 ;  So7inet  xiv. 

Alms-drink,  Antony  and  Cleopatra,  ii.  7.  The  portion  of  one's 
share  taken  by  others  to  relieve  him.  Perhaps  here  only  the  leav- 
ings, which  would  be  given  as  alms. 

Alonso,  King  of  Naples,  character  in  The  Tempest,  introduced 
in  the  first  scene.  He  and  his  son,  with  the  usurping  Duke  of  Milan, 
whom  he  had  aided  in  the  usurpation,  are  shipwrecked  in  the  storm 
raised  by  Prospero.  He  afterward  repents  of  the  wrong,  and  con- 
sents to  the  marriage  of  his  son  Ferdinand  with  Miranda. 


10  INDEX   TO  SHAKSPERE'S   WORKS. 


t)SS- 


Alphabet,  the,  called  Absey.    See  Absey-book  ;  called  the  cro 
row  (or  Chi'ist-cross  row,  because  it  was  often  headed  with  a  cross), 
Richard  III.,  i.  1, 

Althea,  dreamed  she  was  delivered  of  a  firebrand,  II.  Henry 
I  v.,  a.  2.  It  was  Hecuba  that  had  that  dream  before  the  birth  of 
Paris ;  burning  the  brand,  II.  Henry  VI.,  i.  1.  The  destinies  fore- 
told that  the  life  of  her  son  Meleager  should  last  no  longer  than  a 
brand  then  burning  upon  the  hearth.  She  caught  up  the  brand,  ex- 
tinguished, and  saved  it.  But  when  her  son  grew  to  manhood  he 
slew  her  two  brothers  in  a  sudden  passion ;  and  Althea,  to  avenge 
their  death,  threw  the  brand  upon  the  fire,  and,  as  it  burned,  the  life 
of  Meleager  wasted  away  with  it. 

Amaimon,  Merry  Wives  of  Windsor,  ii.  2,  end;  I.  Heniy  IV., 
ii.  4.  One  of  the  four  demon-kings.  His  realm  is  in  the  north,  the 
quarter  most  haunted  by  evil  spirits. 

Amazement  (consternation).  The  Tempest,  i.  2 ;  Hamlet,  in.  4. 
See  Astonishment. 

Ambassadors,  from  France,  Henry  V.  The  chief  speaker  was 
the  Archbishop  of  Bourges. 

Ambition,  growth  of,  'She  Tempest,  i.  2  ;  to  expel  remorse.  The 
Tempest,  v.  1;  shrunk,  L  Henry  VI.,v.  4.;  the  object  of,  glory,  like  a 
circle  in  water,  /.  Henry  I V.,  i.  2 ;  of  the  Plantagenets,  ///.  Henry 
VI.,  i.  If. ;  charge  to  fling  away,  Henry  VIII.,  in.  2 ;  a.  beastly,  Timon, 
iv.  3 ;  our  own  fault  if  we  are  underlings,  Julius  Ccesar,  i.  2  ;  ladder 
of,  Julius  Ccesar,  ii.  1;  of  Caesar,  iii.2  ;  with  scruples,  Macbeth,  i.  5  ; 
vaulting,  Macbeth,  i.  7 ;  is  but  dreams  and  a  shadow's  shadow,  Ham- 
let, ii.  2 ;  the  soldier's  virtue,  Antony  and,  Cleopatra,  Hi.  1. 

Amen,  The  Tempest,  v.  1;  say  amen  betimes,  lest  the  devil  cross 
the  prayer.  Merchant  of  Venice,  Hi.  1 ;  could  not  say,  Macbeth,  ii.  2. 

America,  Comedy  of  Errors,  Hi.  2;  allusion  to,  Henry  VIII, 
V.  3,  "  Make  new  nations,"  etc. 

Ames-ace,  AlVs  Well  that  Ends  Well,  ii.  3.  The  lowest 
throw  upon  two  dice — two  aces. 

Amiens,  one  of  the  lords  attending  the  banished  duke  in  As 
You  Like  It,  introduced  in  ii.  1. 

Amity.     See  Friendship. 

Amnesty,  offer  of,  /.  Henry  IV.,  iv.  3  ;  v.  1. 

Amort  (dispirited).  Taming  of  the  Shrew,  iv.  3  ;  I.  Henry  Vl^ 
Hi.  2. 

Amphion,  harp  of,  The  Tempest,  ii.  1. 

Amulets.     See  Charms,  Periapts. 


INDEX  TO  SHAKSFERE'^    WORKS.  H 

Amurath,  11.  Henry  IV.,  v.  2.     Amurath  V.,  who,  succeeding 
his  father,  Amurath  IV.,  caused  all  his  brothers  to  be  strangled. 
Amyntas,  King  of  Lycaonia,  Antony  and  Cleopatra,  Hi.  6. 
Anarchy,  prayer  for,  II.  Henry  IV.,  i.  1 ;  danger  of,  Richard 

III,  a.  2. 

Anatomize  (analyze),  As  You  Like  It,  i.  1 ;  ii.  7 ;  II.  Henry 
VI,  V.  2. 

Anatomy,  a  mere.  Comedy  of  Errors,  v.  1 ;  I'U  eat  the  rest  of 
the.  Twelfth  Night,  Hi.  2  ;  that  fell,  which  cannot  heal.  King  John, 
Hi.  4  ;  in  what  part  of  the,  does  the  name  lodge,  Romeo  and  Juliet, 
Hi.  3. 

Ancliises,  Julius  Ccesar,  i.  2.  The  father  of  ^neas,  whom 
-(Eneas  bore  away  on  his  back  from  burning  Troy. 

Ancient  (a  standard,  or  standard-bearer,  or  ensign).  Pistol  and 
lago  were  ancients  ;  an  old-faced  (flag),  /.  Henry  IV.,' iv.  2  ;  of  war 
(experienced).  King  Lear,  v.  1. 

Ancients,  whether  better  than  moderns,  Sonnet  ix. 

Andirons,  Cymheline,  H.  4. 

And  let  the  canakin,  song,  Othello,  H.  3. 

Andren  (Ardej,  vale  of,  in  Picardy,  the  meeting-place  of  the 
Kings  Francis  I.  and  Henry  VIII.,  Henry  VIIL,  i.  1.  The  Field  of 
the  Cloth  of  Gold. 

Andrew,  my  wealthy,  Merchant  of  Venice,  i.  1.  A  merchant- 
man, supposed  to  be  called  so  after  the  great  admiral,  Andrew 
Doria. 

Andromache,  Hector's  wife,  a  character  in  Troilus  and  Gres- 
sida,  introduced  in  v.  3. 

Andronici,  tomb  of  the,   Titus  Androfiicus,  i.  1  or  2.     Titus 
brings  home  those  of  his  twenty-five  sons  who  have  fallen,  to  be  bur 
ied  in  the  tomb  of  his  ancestors. 

Anemone,  the  flower  that  sprang  from  the  blood  of  Adonis, 
V.  and  A.,  195.  Purple  was  used  for  any  bright  color.  Bion  makes 
the  rose  to  spring  from  the  blood,  the  anemone  from  the  tears  of 
Venus, 

Angelo,  the  deputy  of  the  duke  in  Measure  for  Measure,  intro- 
duced in  the  first  scene — a  cold-hearted,  self-righteous  man,  who  not 
only  falls  into  the  wickedness  which  he  is  making  a  great  display  of 
punishing,  but  aggravates  it  by  cruelty  and  breach  of  faith.  The 
develoftment  of  the  worse  elements  of  his  character,  the  existence  of 
which  he  had  never  suspected,  his  surprise  at  his  own  fall,  and  the 
rapidity  with  which  one  baseness  follows  another  in  a  life  that  was 


12  INDEX  TO  SEAKSPEHE'S   WORKS. 

all  selfishness  and  show  even  in  its  virtues,  are  brought  out  in  the 
play  with  great  skill  and  subtlety. 

Angelo,  a  goldsmith,  character  in  Comedy  of  Errors,  introduced 
in  UL  1. 

Angel(s),  made  to  weep,  Measure  for  Measure,  ii.  2 ;  blessed 
ministers  above,  Pleasure  for  Measure,  v.  1 ;  guardian,  II.  Henry 
IV.,  ii.  2;  attending  evil,  II.  Henry  IV.,  i.  2;  Macbetli,  Hi.  1; 
Antony  and  Gleo'patra,  ii.  3  ;  fell  by  ambition,  Henry  VIII.,  Hi.  2  ; 
love  good  men,  Henry  VIII.,  ii.  2  ;  visions  of,  Henry  VIIL,  iv.  2  ; 
beauty  of,  Romeo  and  Juliet,  ii.  2  ;  are  bright  still,  Macbeth,  iv.  3  ; 
and  ministers  of  grace,  Hamlet,  i.  4  ;  heavenly  guards,  Hamlet,  Hi. 
4  ;  sing  thee  to  thy  rest,  Hamlet,  v.  2. 

Angel(s),  (gold  coins  with  the  figure  of  an  angel  or  saint).  Merry 
Wives  of  Windsor,  i.  3  ;  Mercha7it  of  Venice,  ii.  7 ;  King  John,  Hi,  3  ; 

II.  Henry  IV.,  i.  2  ;  an  ancient.  Taming  of  the  Shreiv,  iv.  2.  The 
meaning  of  the  last  is  obscure,  but  perhaps  one  of  the  old  stamp,  a 
true  coin.  Some  understand  it  to  be  a  word  cognate  to  angle,  and 
to  mean  either  the  bait  or  the  victim — that  angled  with  or  that  angled 
for. 

Anger,  in  a  woman,  Taming  of  the  Shreiv,  v.  2,  "  A  woman 
moved,"  etc. ;  the  king's,  I.  Henry  IV.,  i.  3  ;  like  a  full  horse,  Henry 
VIIL,  i.  1 ;  sudden,  Henry  VIIL,  Hi.  2  ;  my  meat,  Coriolanus,  iv. 
2 ;  B,  short  madness,  Timon  of  Athens,  i.  2 ;  of  Cassius,  Julius 
CcBsar,  iv.  3  ;  more  in  sorrow  than  in,  Hamlet,  i.  2  ;  righteous,  Lear, 
ii.  2,  "  hath  a  privilege  "  ;  Othello,  Hi.  J/.,  "  There's  matter  in't,"  etc.; 
never  made  good  guard  for  itself,  Antony  and  Cleopatra,  iv.  L 

Anglers,  scene  of  part  of  King  John  and  of  I.  Henry  VL,  v.  3  ; 
addresses  to  citizens  of.  King  John,  ii.  1  or  2. 

Angling,  Much  Ado  about  Nothing,  Hi.  1;  Antony  and  Cleo- 
patra, ii.  6 ;  for  hearts,  L  Henry  IV.,  iv.  3. 

Angus,  a  thane  of  Scotland,  character  in  Macbeth,  appears  in 
i.  3. 

Angus,  Earl  of,  /.  Henry  IV.,  i.  1. 

Animals,  souls  of,  in  men,  The  Merchant  of  Veiiice,  iv.  1 ;  cru- 
elty to.  As  You  Like  Lt,  ii.  1 ;  Cymbeline,  i.  5 ;  defend  their  young, 

III.  Henry  VI.,  ii.  2 ;  know  their  friends,  Coriolanus,  ii.  1;  strife 
among,  Timon  of  Athens,  iv.  3. 

Anjou,  scene  of  I.  Henry  VL,  v.  2, 4;  lost  to  England,  11.  Henry 
VL,  i.  1 ;  iv.  L 

Anjou,  Margaret  of.     See  Margaret. 

Anna,  the  confidant  of  Dido,  Taming  of  the  Shrew,  i.  L 


INDEX  TO  SHAKSPERE'S    WORKS.  13 

Anne,  Princess  of  Wales,  widow  of  the  son  of  Henry  VI.,  and 
daughter  of  Warwick,  a  character  in  Richard  IIL,  where  she  ap- 
pears first  in  i.  3,  and  is  successfully  wooed  in  the  street,  while  fol- 
lowing the  coffin  of  Henry  VI.,  by  Gloster  (Richard  III.),  his  mur- 
derer and  the  murderer  of  her  husband.  In  iv.  2,  he  resolves  that 
she  shall  die,  so  that  he  may  marry  his  brother's  daughter,  and 
her  death  is  announced  in  iv.  3  (March  16, 1485).  Her  ghost  appears 
to  Richard  in  v.  3. 

Anne  Boleyn.     See  Boleyn. 

Annotanize  (stilted  for  annotate).  Love's  Labour's  Lost,  iv.  1. 

Annoy,  farewell  to,  ///.  Henry  VL,  v.  7. 

An  old  hare  hoar  (an  old  song),  Romeo  and  Juliet,  ii.  4. 

Anon,  Merry  Wives  of  Windsor,  Hi.  3 ;  I.  Henry  IV.,  ii.  4.  A 
waiter's  usual  answer,  used  as  "  coming  "  is  now. 

Answer,  you  shall  never  take  her  without  her  answer,  unless 
you  take  her  without  her  tongue.  As  You  Like  It,  iv.  1 ;  to  fit  all 
questions,  AlVs  Well  that  Ends  Well,  ii,  2. 

Antenor,  a  Trojan  commander,  character  in  Troilus  and  Cres- 
sida,  passes  through  in  i.  2,  and  is  described  by  Pandarus.  In  Hi.  2 
it  is  proposed  to  exchange  him  for  Cressida,  which  is  done,  iv.  1. 

Antenorid.es  (name  of  a  gate  of  Troy),  Troilus  and  Cressida, 
prologue. 

Anthropophagi,  and  men  whose  heads,  etc.,  Othello  i.  3.  Ra- 
leigh described  such  men  in  the  account  of  his  voyage  to  Guiana ; 
there  is  another  allusion  in  The  Tempest,  Hi.  3,  to  men  whose  heads 
stood  in  their  breasts. 

Anthropophaginian  (cannibal),  used  in  fun  by  the  Host,  Merry 
Wives  of  Windsor,  iv.  5. 

Antiates  (of  Antium),  Coriolanus,  i.  6. 

Antic  (buffoon  in  a  farce),  Much  Ado  about  Nothing,  Hi.  1,  and 
in  other  passages.  The  word  antic,  or  antique,  is  also  used  as  the 
name  of  a  dance,  Macbeth,  iv.  1 ;  Love's  Labour's  Lost,  v.  1. 

Anticipation,  Merchant  of  Venice,  ii.  6  ;  pleasure  of,  AlVs  Well 
that  Ends  Well,  ii.  4;  Richard  IL,  ii.  3;  the  imaginary  relish, 
Troilus  and  Cressida,  Hi.  2. 

Antigonus,  a  character  in  A  Winter's  Tale,  a  lord  at  the 
court  of  Leontes,  introduced  in  H.  L  Like  his  wife,  Paulina,  he  is 
at  first  an  outspoken  advocate  of  the  suspected  queen ;  but  he 
afterward  weakens  and  is  sent  by  the  king  to  dispose  of  Perdita. 
He  is  killed  by  a  bear.  Hi.  1,  when  on  the  way  to  his  ship  after  leav- 
ing her  on  the  desolate  coast  of  Bohemia  ( ! ). 
2 


14  INDEX  TO  SHAKSPERE'S   WORKS. 

Antioch,  scene  of  a  part  of  Pericles. 

Antiochus,  King  of  Antioch,  character  in  Pericles,  Prince  oi 
Tyre,  introduced  in  i.  1 ;  his  death,  ii.  Jf..  His  daughter,  also  a  char- 
acter in  the  play,  a  beautiful  woman  whose  many  suitors  were  given 
the  alternative  of  guessing  a  riddle  or  having  their  heads  set  on  the 
palace-gate,  is  introduced  in  i.  1 ;  her  death,  ii.  4. 

Antiopa,  Jlidsummer-JSfighfs  Bream,  ii.  1.  An  Amazon, 
daughter  of  Mars. 

Antipathies,  instinctive,  Mer chant  of  Venice,  iv.  1;  of  con- 
traries, Lear,  ii.  2. 

Antipholus,  the  name  of  twin  brothers  in  the  Comedy  of  Er- 
rors, who  were  separated  in  infancy,  one  being  taken  to  Ephesus,  the 
other  to  Syracuse.  The  resemblance  between  them  and  that  between 
their  servants,  the  Dromios,  is  the  source  of  the  errors.  Antipholus 
of  Ephesus  is  introduced  in  Hi.  1,  Antipholus  of  Syracuse  in  i.  2. 

Antipodes,  the,  Mucli  Ado  about  Nothing,  ii.  1 ;  Merchant  of 
Venice,  v.  1;  Richard  II.,  Hi.  2 ;  III.  Henry  VI.,  i.  4- 

Antiquity,  Hamlet,  iv.  5 ;  Sonnet  Ixviii ;  the  service  of  the 
antique  world,  As  You  Like  It,  ii.  3.    In  the  sense  of  age,  see  Age. 

Antium,  the  Volscian  capital,  scene  of  Coi'iolanus,  iv.  4,  5. 

Antoniad,  the,  Cleopatra's  ship,  ArUony  and  Cleopatra,  Hi.  8  or 
10. 

Antonio,  brother  of  Prospero,  in  The  Tempest,  whose  place  and 
title  as  Duke  of  Milan  he  has  usurped,  first  appears  in  i.  1.  So  far 
from  repenting  of  his  crime,  he  urges  Sebastian,  brother  of  the  King 
of  Naples,  to  commit  a  similar  crime,  and  is  willing  himself  to  be  the 
assassin. 

Antonio,  father  of  Proteus  in  the  Two  Gentlemen  of  Verona, 
appears  in  i.  3. 

Antonio,  brother  of  Leonato,  in  Mucli  Ado  about  Nothing,  in- 
troduced in  i.  2. 

Antonio,  the  merchant  who  is  to  lose  the  pound  of  flesh  in  The 
Merchant  of  Venice.  He  is  the  first  speaker  in  the  play.  Although 
possessed  of  great  wealth,  he  seems  to  care  neither  for  hoarding  nor 
spending  it.  The  only  passion  he  seems  to  have  shown  is  his  hatred 
of  Shylock's  usurious  practices,  intensified  by  the  Christian  hatred  of 
his  age  for  Shylock's  race.  Quiet,  melancholy,  and  somewhat  negative 
in  character,  he  stands  among  the  more  lively  personages  of  the  play 
a  sufferer  rather  than  an  actor. 

Antonio,  a  sea-captam  in  Twelfth  Night,  introduced  in  ii.  i,  a 
constant  friend  of  Sebastian. 


INDEX  TO  SHAKSPERE'S  WORKS.  15 

Antonius,  Marcus,  Marc  Antony,  character  in  Julius  Ccesar, 
introduced  in  i.  2 ;  Cassius  proposes  that  he  shall  die  with  Ciesar, 
ii.  1;  his  message  to  Brutus,  and  lament  over  Caesar,  m.  1;  his 
funeral  oration,  Hi.  2. 

Also  a  character  in  Antony  and  Cleopatra,  introduced  in  i.  1 ;  his 
soldierly  endurance,  i,  4;  Lepidus's  praise  of,  travestied,  iii.  2 ;  in 
defeat,  ^^^.  i";  complaint  against  Caesar,  m.  ^;  his  division  of  his 
kingdoms,  iii.  6 ;  resolved  to  fight  by  sea.  Hi.  7 ;  at  Actium,  Hi.  8- 
10;  shame  and  despair,  iii.  9  or  11,  11  or  13 ;  challenge  to  Caesar, 
iii.  11  or  13,  iv.  1 ;  parting  with  his  followers,  iv.  2 ;  portent  of  his 
fall,  m  ^;  in  supposed  victory,  iv.  8;  in  despair,  iv.  10  ov  12 ;  12 
or  14;  his  death,  iv.  12  or  14;  13  or  15  ;  lamented  by  Caesar,  v.  1;  by 
Cleopatra,  v.  2. 

"  He  refined  the  rough  features  of  Marc  Antony  into  the  charac- 
ter of  an  Alcibiades.  He  passed  silently  over  the  youth  of  his  hero, 
he  took  from  him  his  tendency  to  cruelty,  covered  the  misdeeds  of 
the  triumvirate  with  a  veil,  showed  only  the  best  side  of  his  rapacity 
and  lavish  prodigality,  spoke  loudly  of  his  warlike  past,  his  victory 
over  Brutus  and  Cassius,  his  heroic  endurance  of  hunger  and  want 
after  his  defeat  at  Modena,  and  strove  especially  to  make  his  hero 
interesting  on  the  score  of  brilliant  natural  gifts.  It  is  not  to  be  dis- 
puted that  Shakspere  by  these  touches  brought  out  the  most  attract- 
ive side  of  Antony.  Even  in  the  voluptuary  and  the  profligate 
there  is  an  alluring  charm  in  the  ready  versatility,  the  natural  supe- 
riority, the  variety  of  talent,  the  abundance  of  resources,  and  in  the 
natural  aptness  to  fill  any  part.  Antony  was  indeed  a  man  thus 
variously  endowed," — Gervinus. 

"  Antony  is  a  man  of  genius,  with  many  splendid  and  some  gen- 
erous qualities,  but  self-indulgent,  pleasure-loving,  and  a  daring 
adventurer,  rather  than  a  great  leader  of  the  state." — Dowden. 

Antony  and  Cleopatra,  a  tragedy,  first  published  in  the  folio 
of  1623,  is  supposed  to  have  been  written  in  or  near  the  year  1607, 
both  from  internal  evidence  and  from  the  fact  that  in  1608  a  book 
bearing  the  name  was  registered  for  publication,  though  for  some 
reason  it  was  not  published,  by  Edward  Blount,  publisher  of  the  first 
folio.  It  follows  Plutarch's  "  Life  of  Antony  "  closely,  beginning 
in  the  year  40  b.  c,  when  Fulvia  died,  and  covering  a  period  of 
about  ten  years.  The  scenes  are  laid  in  Alexandria,  Rome,  Mise- 
num,  Athens,  near  Actium,  Messina,  and  on  a  plain  in  Spia.  White 
calls  this,  poetically,  the  most  splendid  creation  of  Shakspere's 
genius,  an  opinion  in  which  he  follows  Coleridge,  who  says : 

"  Of  all  Shakspere's  historical  plays,  Antony  and  Cleopatra  is  by 
far  the  most  wonderful.  There  is  not  one  in  which  he  has  followed 
history  so  minutely,  and  yet  there  are  few  in  which  he  impresses  the 


16  INDEX  TO  SHAKSPERE'S    WORKS. 

notion  of  angelic  strength  so  much,  perhaps  none  in  which  he  im- 
presses it  more  strongly.  This  is  greatly  owing  to  the  manner  in 
which  the  fiery  force  is  sustained  throughout,  and  to  the  numerous 
momentary  flashes  of  nature  counteracting  the  historic  abstraction." 

Antres  (caves),  Othello,  i.  3. 

Ape(s),  the  famous,  Hamlet,  Hi.  4,  allusion  to  some  forgotten 
story;  foreheads  of.  The  Tempest,  iv.  1;  lead,  in  hell,  3Iuch  Ado 
about  Nothi7ig,  ii.  1 ;  Taming  of  the  Shrew,  ii.  1.  The  proverbial 
future  punishment  of  old  maids  was  to  lead  apes  in  hell. 

Apemantus,  a  cynic,  character  in  Timon  of  Athens,  introduced 
in  i.  1. 

"Diogenes,  in  Lily's  'Alexander  and  Campaspe,'  sat  to  the 
poet  for  Timon's  contrast,  the  cynic  Apemantus ;  the  quick,  strik- 
ing, epigrammatic  answers  to  questions,  which  seem  to  be  inserted 
here  and  there  too  much  for  the  sake  of  eliciting  witty  replies,  are 
quite  on  this  model.  The  description  of  this  antique  fool  is  so  per- 
fect in  its  way  that  it  is  supposed  Shakspere  must  have  seen  the 
short  sketch  of  a  cynic,  which,  in  Lucian's  '  Public  Sale  of  Philoso- 
phers,' is  put  into  the  mouth  of  Diogenes.  It  is  there  said  that,  in 
order  to  belong  to  this  sect,  a  man  must  be  bold  and  shameless,  and 
revile  every  one  from  the  king  to  the  beggar  ;  thus  he  will  draw  all 
eyes  upon  him,  and  appear  manly.  His  speech  must  be  barbarous, 
his  voice  dissonant,  and  exactly  like  a  dog's ;  his  face  rigid,  his  ex- 
pression the  same,  and  altogether  he  must  be  brutish  and  rough. 
Shame,  equity,  and  moderation  must  be  dispensed  with,  and  blushes 
must  be  wholly  banished  from  his  countenance." — Gervinus. 

Aphrodisiacs,  the  potato,  eringo,  3Ierry  Wives  of  Windsor, 
V.  5. 

Apollo,  lute  of,  Love's  Labour's  Lost,  iv.  3 ;  and  Daphne,  Mid- 
summer-NigMs  Dream,  ii.  1;  Troilus  and  Cressida,  i.  1;  plays, 
Taming  of  the  Shrew,  Induction,  2  ;  oracle  of,  consulted,  A  Winter's 
Tale,  ii.  1 ;  Hi,  1,  2  ;  v.  1. 

Apologies :  Proteus's  to  Valentine,  Two  Gentlemen  of  Verona^ 
V.  4  ;  Antony's  to  Octavius,  Antony  and  Cleopatra,  ii.  2. 

Apostle-spoons.     See  Spoons. 

Apothecary,  and  his  shop,  Romeo  and  Juliet,  v.  L 

Apparel,  honour  in  the  meanest,  Taming  of  the  Shrew,  iv.  3  ;  oft 
proclaims  the  man,  HamJet,  i.  3 ;  vices  appear  through  mean.  King 
Lear,  iv.  6. 

Apparitions :  of  hunters  and  hounds,  The  Tempest,  iv.  1 ;  of 
Caesar,  Julius  Ccesar,  iv.  3;  of  Macduif,  Malcolm,  and  the  eight 
kings,  llacbeth,  iv.  1.  These  are  the  Stuart  kings  to  James  V.,  said 
to  have  been  descended  from  Banquo.  The  many  more,  some  with 
twofold  balls  and  treble  sceptres,  James  YI.  (James  I.  of  England) 


INDEX  TO  SHAKSPERE'S    WORKS.  17 

and  his  posterity,  who  were  to  reign  over  the  united  kingdom ;  of 
Hamlet's  father,  Hamlet,  i.  1,  4,  5.    See  also  Ghosts. 

Appeached  (accused),  AWs  Well  that  Ends  Well,  i.  3. 

Appeal,  the  boisterous  late,  Richard  II.,  i.  1.  The  accusation 
made  against  Norfolk  of  high  treason. 

Appearance,  judging  by  the,  Jlerchant  of  Venice,  ii.  7  ;  Hi.  2  ; 
Tweljth  Night,  i.  2,  "  There  is  a  fair  behaviour,"  etc. ;  Pericles,  ii.  2. 

Apperil  (endanger),  Timon  of  Athens,  i.  2. 

Appetite,  of  her  eye.  Merry  Wives  of  Wi^idsor,  i.  3 ;  digestion 
wait  on,  3Iacbeth,  Hi.  4 ;  grown  with  what  it  fed  on,  Hamlet,  i.  2 ; 
and  judgment,  Lovefs  Complaint,  I.  166. 

Applause,  Henry  VIII,  iv.  1,  "Such  a  noise  arose,"  etc. 

Apple-Johns  (apples  with  wrinkled  skin),  that  would  keep  two 
years,  II  Henry  IV.,  ii.  ^. 

Apply  (ply).  Taming  of  the  Shrew,  t.  1. 

Appreciation,  after  loss,  AlVs  Well  that  Ends  Well,  v.  3. 

Approbation,  receive  her  (enter  on  her  probation),  Pleasure  for 
Measure,  i.  3. 

Apricock  (apricot),  Midsummer-JSighf s  Dream,  Hi.  1;  Richard 
II.,  Hi.  4. 

April,  spongy.  The  Tempest,  iv.  1 ;  love  like,  Two  Gentlemen  of 
Verona,  i.  3. 

Aquitaine  (a  duchy  in  southwestern  France),  surrender  of,  Love's 
Labour's  Lost,  i.  1;  H.  1. 

Arabia,  wilds  of.  Merchant  of  Venice,  ii.  7 ;  perfumes  of,  3IaC' 
beth,  V.  1;  trees  of,  Othello,  v.  2 ;  bird  of,  Antony  and  Cleopatra, 
Hi.  2 ;  Cymheline,  i.  7. 

Arch,  (chief),  King  Lear,  H.  I 

Archbishop,  an,  rebuked  for  rebellion,  //.  Henry  IV.,  iv.  2. 

Archbishops  of  Canterbury.  See  Bourchier,  Canterbury, 
CranmeRo 

Archbishops  of  York.     See  Rotherham,  Scroop,  York. 

Archelaus,  King  of  Cappadocia,  Antony  and  Cleopatra,  Hi.  6. 

Archery,  allusions  to :  wide  o'  the  bow-hand  (far  from  the  mark). 
Love's  Labour's  Lost,  iv.  1;  flight  and  bird  bolt  (long  and  short 
shot) — to  cry  aim  (to  encourage).  Merry  Wives  of  Windsor,  ii.  3 ;  Hi. 
1;  King  John,  H.  1;  in  a  bottle  like  a  cat.  Much  Ado  about  Nothing, 
i.  1;  the  very  pin  of  his  heart  cleft,  etc.,  Romeo  and  Juliet,  H.  4. 
The  clout,  which  was  the  pin,  the  very  centre  of  the  target,  is  spoken 
of  in  many  places.  Love's  Labour's  Lost,  iv.  1;  II.  Henry  IV.,  Hi.  2 ; 
King  Lear,  iv.  6. 


18  INDEX  TO  SBAKSPERi:'S   WORKS, 

Archibald,  Earl  of  Douglas.    See  Douglas. 

Archidamus,  an  unimportant  character  in  A  Winter's  fate,  all 
attendant  of  Polixenes,  appears  in  ^.  1. 

Arde,  in  Picardy,  Henry  VIII.,  i.  1. 

Ardea  (a  city  south  of  Eome),  siege  of,  Lucrece,  argument,  and 
1.1. 

Arden,  the  forest  of.    See  As  You  Like  It. 

Argier  (old  English  name  of  Algiers),  The  Tempest,  i.  2. 

Argosy (ies),  Antonio's,  Merchant  of  Venice,  i.  1,  3;  Hi.  2; 
choked  with  an,  Taming  of  the  Shrew,  v.  h 

Argument  (cause),  Henry  F.,  Hi.  1 ;  Troilus  and  Cressida,  i. 
1;  Hamlet,  iv.  4.. 

Argus,  the  hundred-eyed.  Love's  Labour's  Lost,  Hi.  1 ;  Troilus 
and  Cressida,  i.  2. 

Ariachne  (Arachne,  the  spider),  Troilus  and  Cressida,  v.  2. 

Ariadne  (daughter  of  Minos,  King  of  Crete ;  she  was  deserted 
by  her  lover  Theseus,  whom  she  had  rescued  from  the  labyrinth), 
Two  Gentlemen  of  Verona,  iv.  4 ;  Midsummer-Night's  Dream,  ii.  L 

Ariel,  an  airy  spirit  in  The  Tempest,  whose  service  Prospero  has 
secured  by  the  exercise  of  his  magic  power. 

"  Grace,  tenderness,  speed,  and  especially  freedom  and  lightness, 
the  properties  of  his  element,  are  peculiar  to  him.  .  .  .  Whilst  the 
other  spirits  hate  the  magician,  yet  are  compelled  to  serve  him, 
Ariel  obeys  him  thankfully  and  truly,  without  lies,  without  mistakes, 
without  a  murmur ;  for  this,  his  perfect  freedom,  his  all,  is  promised 
him  within  a  certain  time,  and  of  this  time,  for  good  service,  one 
year  is  abated.  But  even  to  wait  this  abridged  time  is  painful  to 
him.  It  is  exquisitely  conceived  and  very  beautiful.  What  a  pecul- 
iarly melancholic  character  the  poet  has  cast  over  the  being  and  re- 
lations of  this  creature,  divided  as  he  is  between  a  superior  nature 
and  the  aspirings  of  higher  feelings !  .  .  .  His  lord  will  miss  him 
when  he  has  given  him  his  freedom ;  but  he,  the  airy  creature,  will 
feel  no  longing  after  his  dear  master,  whom  he  only  seems  to  love 
for  the  sake  of  his  promised  freedom.  He  asks  for  more,  for  speed- 
ier freedom,  and  Prospero  must,  once  in  a  month,  recount  to  the 
quickly  forgetting  spirit  the  benefit  he  has  received  of  his  hands; 
then  the  variable  servant  struggles  with  his  fluctuating  nature,  and 
is  again  all  obedience,  fidelity,  and  promptness." — Gervinus. 

Aries  (the  ram),  Titus  A7idronicus,  iv.  3. 
Arion,  rescued  by  the  dolphin.  Twelfth  Night,  i.  2. 
Aristotle,  Taming  of  the  Shreiv,  i.  1 ;  quoted  by  Hector,  Troilus 
and  Cressida,  ii.  2.    Aristotle  lived  800  years  after  the  Trojan  war. 
Ark,  couples  coming  to  the,  As  You  Like  It,  v.  4. 
Armado,  Don  Adrian©  de,  a  character  in  Love's  Labour's  Lost, 


INDEX  TO  SHAKSPERE'S   WORKS.  19 

introduced  in  i.  2,  a  fantastical  Spaniard,  full  of  sounding  words  and 
boastings,  but  cowardly  and  of  low  instincts,  chosen  by  the  king  to 
amuse  him  and  his  fellow-students  in  their  seclusion. 

Armagnac,  Earl  of,  /.  Henry  VI.,  v.  5. 

Arm-gaunt,  Antony  and  Cleopatra,  i.  5.  There  is  no  satisfac- 
tory explanation  of  this  word.  It  is  sometimes  read  "arm-girt," 
covered  with  armour. 

Armigero  (armiger),  Merry  Wives  of  Windsor,  i.  1.  One  who 
bears  arms,  a  gentleman.     Written  after  the  name  in  law-papers. 

Arms,  coats  of.    See  Heraldry. 

Arm.y,  composition  of  an,  King  John,  ii.  1 ;  coming  of  an.  King 
John,  iv.  4  ;  appeal  to  an,  Henry  V.,  Hi.  1 ;  embarkation  of  an,  Hen- 
ry v.,  Hi.,  chorus;  spoiled  trappings  of  an,  Henry  V.,  iv.  S;  a,  ragged, 
//.  Henry  VI.,  iv.  4  ;  contempt  for  an  opposing,  Richard  III.,  v.  3. 

Aroint  (avaunt),  Macheth,  i.  8 ;  King  Lear^  Hi.  4.  Said  to  be 
still  used  in  the  north  of  England,  in  some  places  pronounced  rynt. 

Aragon,  the  Prince  of,  one  of  the  suitor?  of  Portia  in  Merchant 
of  Venice,  appears  in  ii.  9,  and  loses  her  by  choosing  the  silver 
casket. 

Arras,  hide  behind  the,  I.  Henry  IV.,  ii.  4,  and  in  many  other 
places.  It  was  placed  on  wooden  frames  or  on  hooks  far  enough 
from  the  wall  to  keep  it  from  dampness ;  figures  on,  Cymheline,  ii.  2. 

Arrogance,  fed  by  supple  knees,  Troilus  and  Cressida,  Hi.  3. 

Art,  magic.  The  Tempest,  i.  2 ;  modifying  nature,  A  Winter'' s 
Tale,  iv.  3  ov  4;  in  painting,  Lucrece,  I.  1373.  See  Painting  and 
Pictures. 

Artemidorus,  a  sophist  of  Cnidos,  character  in  Julius  Cmsar, 
appears  in  ii.  3  and  Hi.  1,  with  a  warning  for  Caesar.  Plutarch  says 
he  was  a  doctor  of  Greek  rhetoric,  and,  knowing  the  designs  of  the 
conspirators,  with  whom  the  practice  of  his  profession  had  brought 
him  into  contact,  tried  to  warn  Caesar.     His  warning,  ii.  3 ;  Hi.  1. 

Arteries  and  Veins,  Merchant  of  Venice,  Hi.  2;  Love's 
Labour's  Lost,  iv.  3 ;  King  John,  Hi.  3  ;  Richard  III.,  i.  2 ;  Troilus 
2nd  Cressida,  iv.  1 ;  Coriolanus,  v.  1;  Romeo  and  Juliet,  v.  1;  Ham- 
let, i.  4.    See  also  Blood,  Circulation  of  the. 

Arthxir,  Duke  of  Brittany,  a  character  in  King  John,  was  the 
nephew  of  John  and  of  Richard  I.,  and  by  the  latter  designed,  at 
one  time  at  least,  as  his  successor,  Arthur  was  born  in  1188,  and  is 
supposed  to  have  been  put  to  death  at  John's  orders  after  being 
made  prisoner  by  him  in  1202.  He  was  imprisoned  at  the  castle  of 
Falaise  in  Normandy,  and  afterwards  in  the  castle  of  Rouen,  where 


20  INDEX  TO  SHAKSPERE'S   WORKS. 

he  is  supposed  to  have  met  his  death — not,  as  in  the  play,  in  Eng- 
land. He  was  undisputed  heir  to  Anjou,  Toui'aine,  and  Maine,  and 
Duke  of  Brittany.  As  such  he  was  a  vassal  of  Philip,  who  took  up 
his  cause  for  his  own  interest,  and  went  to  war  with  John.  Arthur 
first  appears  in  ii.  1.  He  is  gentle,  innocent,  and  unambitious,  yet 
in  the  scene  with  Hubert  shows  a  high  degree  of  childish  -Wisdom. 
This  scene  is  one  of  the  finest  in  the  play.     His  death,  iv.  3. 

Arthur's  Show,  II.  Henry  lY.,  Hi.  2.  An  exhibition  of  arch- 
ers, who  took  the  names  of  Arthur's  knights.  Sir  Dagonet  was  a 
sort  of  fool  to  the  king. 

Arundel,  Archbishop.     See  Canterbury. 

Arviragus,  son  of  Cymbeline,  disguised  under  the  name  of  Cad- 
wal.    See  Guiderius. 

Ascanius  (son  of  ^neas),  //.  Henry  VI.,  in.  2.  It  was  Cupid 
disguised  as  Ascanius  that  talked  to  Dido. 

Ascapart  (a  legendary  giant),  II.  Henry  VI.,  ii.  3. 

Asher  House,  Henry  VIII.,  Hi.  2.    See  Esher  House. 

Ashes,  as  the  phcenix.  III.  Henry  VI.,  i.  4>  show  cinders 
through,  Antony  and  Cleopatra,  v.  2. 

Asmath,  a  spirit,  //.  Henry  VI.,  i.  4. 

Asp,  the,  Antony  and  Cleopatra,  v.  2. 

Aspiration,  shown  by  the  gait,  Troilus  and  Cressida,  iv.  5. 

Ass,  a  thrice  double.  Tempest,  v.  1 ;  Dogberiy  would  be  writ 
down  an,  Much  Ado  ahout  Nothing,  iv.  2  ;  Bottom  transformed  into 
an,  Midsummer-Nighf s  Dream,  Hi.  1,  2 ;  more  captain  than  the 
lion,  Timon  of  Athens,  Hi.  5  ;  beating  an,  Hamlet,  v.  1 ;  allusion  to 
the  fable  of  the  old  man  and  the  ass.  King  Lear,  i.  4.  "  Thou  borest 
thine  ass,''  etc. 

Assinego  (little  ass),  Troilus  and  Cressida,  H.  1. 

Associates,  influence  of,  3Iercliant  of  Venice,  Hi.  4,  "  Iii  com- 
panions," etc. ;  pitch  doth  defile,  I.  Henry  IV.,  ii.  4  /  let  men  take 
heed  of  their  company,  //.  Henry  IV.,  v.  1;  keep  where  wit  is 
stirring,  Troilus  and  Cressida,  ii.  1 ;  thou  art  noble,  Julius  Ca}sar, 
H  2 ;  converse  with  him  that  is  wise,  Kinq  Lear,  i.  4. 

Assurance,  made  doubly  sure,  3Iacbeth,  iv.  1. 

Astonishment,  signs  of,  A  Winter's  Tale,  v.  2 ;  "  They  spake 
not  a  word,"  etc.,  Richard  III,  Hi.  7 ;  at  prodigies,  Julius  Ccesar,  i.  3. 

Astringer,  a  Gentle,  character  in  All's  Well  that  Ends  Well,  in- 
troduced in  V.  1,     A  falconer  that  kept  goshawks  was  so  called. 

Astrology,  allusions  to,  The  Tempest,  i.  2;  Two  Gentlemen  of 
Verona,  ii,  7  ;  born  under  Saturn,  JIuch  Ado  about  Nothing,  i.  3  ;  un- 


INDEX  TO  SHAKSPERE'S   WORKS.  21 

der  a  dancing  star,  3Iuc}i  Ado  about  Notliing,  ii.  1 ;  under  a  rhyming 
planet,  Much  Ado  about  Nothing,  v.  2 ;  under  Mars,  AlVs  Well  that 
Ends  Well,  i.  1 ;  the  hiekiest  stars,  AlVs  Well  that  Ends  Well,  i.  3 ; 
the  most  received  star,  AlVs  Well  that  Ends  Well,  ii.  1 ;  born  under 
Taurus,  Iwelfth  Night,  i.  3  ;  constellation  right  apt,  Twelfth  Night, 
i.  4 ;  sfers  shine  darkly.  Twelfth  Night,  ii.  1 ;  in  my  stars  I  am, 
Twelfth  Night,  ii.  5;  a  bawdy  planet,  A  Winter's  Tale,  i.  2 ;  some 
ill  planet,  A  Winter's  Tale,  ii.  1 ;  dishonour  my  fair  stars,  Richard 
II.,  iv.  1 ;  malevolent  to  you,  1.  Henry  IV.,  i.  1 ;  Glendower's  na- 
tivity, I.  Henry  IV.,  Hi.  1;  ruled  like  a  wandering  planet,  II.  Henry 
VI.,  iv.  4  ;  my  thwarting  stars.  III  Henry  VI.,  iv.  6 ;  star-crossed 
lovers,  Romeo  and  Juliet,  i.,  prologue  ;  yet  hanging  in  the  stars,  Ro- 
meo and  Juliet,  i.  4;  inauspicious  stars,  Romeo  and  Juliet,  v.  3  ;  not 
in  our  stars,  Julius  Ccesar,  i.  2  ;  fortune's  star,  Hamlet,  i.  4. ;  out  of 
thy  star,  Hamlet,  ii.  2  ;  orbs  from  whom  we  exist.  King  Lear,  i.  1 ; 
ecHpses,  King  Lear,  i.  2 ;  the  stars  ■  blamed  for  the  vices  of  men, 
King  Lear,  i.  2  ;  your  great  aspect.  King  Lear,  ii.  2 ;  it  is  the  stars, 
King  Lear,  iv.  3  ;  my  good  stars,  Antony  and  Cleopatra,  Hi.  11  or 
13 ;  our  bloods  obey,  Gymbeline,  i.  1 ;  0  learned  indeed,  Cymbeline, 
Hi.  2  ;  senate-house  of  planets,  Pericles,  i.  1 ;  stars  that  frown,  Peri- 
cles, i.  ^  ;  a  chiding  nativity,  Pericles,  Hi.  1 ;  mortal  stars,  Lucrece, 
I.  13;  not  from  the  stars.  Sonnets  xiv.,  xv. ;  in  favour  with  their 
stars.  Sonnet  xxv.  ;  whatsoever  star.  Sonnet  xxvi.  ;  crooked  eclipses. 
Sonnet  ix. 

Astronomers,  have  no  more  profit,  Love's  Laboiifs  Lost,  i.  1. 

Astronomy  (astrology).  Sonnet  xiv. 

As  You  Like  It,  a  comedy  first  printed  in  1623,  though  it  was 
entered  in  the  "Stationers'  Register"  for  publication  in  1600.  It 
must  have  been  written  between  1598  and  1600.  The  story  is  taken 
from  a  tale  by  Thomas  Lodge,  "  Rosalynde :  Euphues'  Golden  Lega- 
cie,"  first  published  in  1590,  and  reprinted  at  least  ten  times  before 
1642.  The  characters  of  Jaques,  Touchstone,  and  Audrey  are  not  in 
the  story ;  and  Shakspere  changed  the  names  of  those  he  took,  ex- 
cepting Rosalind,  Phcebe,  Charles,  and  Adam  (Adam  Spencer  in  the 
story).  The  scene  of  the  play  is  in  the  Forest  of  Arden  and  in 
France,  though  it  does  not  correspond  to  Ardennes,  and  both  place 
and  time  are  indefinite,  intentionally  so,  as  the  character  of  the  play 
does  not  require  definiteness  in  these  respects. 

Atalanta,  the  better  part  of,  As  You  Like  It,  Hi.  2,  verses. 

Ate  (goddess  of  Discord),  3Iuch  Ado  about  Nothing,  ii.  1 ;  King 
John,  H.  1 ;  Julius  Ccesar,  Hi.  1. 


22  INDEX  TO  SHAKSPERE'S  WORKS. 

Ates,  more,  Love's  Labour'' s  Lost,  v.  2. 

Athens,  scene  of  the  Midsummer-NigM s  Dream,  Timon  of 
Athens,  and  part  of  Antony  and  Cleopatra. 

Athol,  Earl  of,  L  Henry  lY.,  i.  L 

Atlas  (the  Titan  supposed  to  support  the  heavens),  111.  Henry ' 
VI.,  V.  1;  Antony  and  Cleopatra,  i.  5.  • 

Atomies,  shut  coward  gates  on,  As  You  Like  It,  Hi.  5;  a  team 
of,  Romeo  and  Juliet,  i.  ^. 

Atone  (to  reconcile  or  be  reconciled),  Coriolanus,  iv.  6;  Othello,  it .  1. 

Atonement  of  Christ,  reference  to  the,  Measure  for  Measure, 
a.  2,  "  Why,  all  the  souls,"  etc. 

Atropos  (one  of  the  Fates,  the  one  that  cut  off  the  thread),  II. 
Henry  IV.,  ii.  4- 

Attempt,  the,  confounds  us,  Macbeth,  ii.  2. 

Attorney  (substitute).  Comedy  of  Errors,  v.  1. 

Audacious  (spirited).  Love's  Labour's  Lost,  v.  1. 

Audacity,  arm  me,  Cymbeline,  i.  7. 

Audit,  Coriolanus,  i.  1 ;  Sonnets  iv.,  xlix.    See  Account. 

Audrey,  an»  honest  and  ugly  country  gii'l  in  As  You  Like  It, 
married  to  the  clown  Touchstone,  introduced  in  Hi.  3. 

Aufidius,  Tullus,  general  of  the  Volscians,  character  in  Corio- 
lanus, introduced  in  i.  2 ;  his  bravery,  i.  1;  fights  with  Marcius 
{Coriolanus),  i.  8;  his  hatred  to  him,  i.  10;  joins  him,  iv.  5 ;  his 
jealousy,  iv.  7.  He  has  the  same  desire  for  military  glory  that 
Coriolanus  has;  but  he  is  of  a  much  smaller  and  meaner  nature. 
His  great  ambition  is  to  conquer  Coriolanus,  and  for  this  he  is  M^ill- 
ing  to  use  any  means,  however  dishonourable ;  and  Coriolanus  falls 
at  last  through  his  malicious  trickery. 

Augurer.     See  Soothsayer. 

Auguries,  of  success,  Cyinbeline,  iv.  2 ;  "Last  night  the  very 
gods,"  etc.     See  Omens. 

Augustus  Ceesar,  demands  tribute,  Cymbeline,  Hi.  1;  charac- 
ter in  Antony  and  Cleopatra.     See  C^sar. 

Aumerle,  Edward,  Duke  of,  son  of  the  Duke  of  York,  character 
in  Richard  I  I,  first  appears  in  i.  3.  He  was  high  constable,  and  was 
deprived  of  his  dukedom  for  adhering  to  Richard,  but  allowed  to 
retain  the  earldom  of  Rutland,  "  Call  him  Rutland  "  {v.  2).  In  Henry 
V.  he  is  again  spoken  of,  now  an  old  man  and  Duke  of  York,  as  dying 
on  the  field  of  Agincourt  {Henry  V.,  iv.  6). 

"  The  character  of  the  Duke  of  Aumerle,  who  plays  no  brilliant 
part  in  Richard  II.  after  his  mother  had  saved  him  from  the  pun- 


INDEX  TO  SEAKSPERE'S   WORKS,  23 

ishment  of  high  treason, and  has  prayed  to  God  to  make  'her  old  son 
new,'  is  again  silently  brought  forward  by  the  poet  in  Henry  V.,  a 
new  man  indeed,  who  has  become  great  with  the  heroic  age,  and  dies 
the  death  of  a  hero  at  Agincourt." — Gervinus. 

Aunt,  an  old,  Troilus  and  Cressida,  ii.  2,  Hesione,  sister  of  Priam. 

Austria,  Leopold,  Archduke  of,  a  character  in  King  John,  where 
he  is  made  identical  with  Vidomar,  Viscount  of  Lymoges,  in  a  quarrel 
with  whom  Richard  I.  of  England  fell,  having  been  shot  by  one  of 
the  viscount's  vassals  while  besieging  the  castle  of  Chaluz.  The 
archduke  died  before  Richard. 

Authority,  the  demigod, — new,  Measure  for  Measure,  i.  3; 
"  Whether  it  be  the  fault,"  etc. ;  a  little  brief, — hath  a  medicine  in 
itself.  Measure  for  Measure,  ii.  2 ;  abuse  of,  Measure  for  Measure, 
ii.  4;  vice  in.  Measure  for  Pleasure,  iv.  2 ;  danger  of  divided,  Corio- 
lanus,  Hi.  1;  Si  dog  in  office — great  image  of,  Ki7ig  Lear,  iv.  6. 

Authorship.  Following  is  a  summary  of  the  plays  that  are 
generally  supposed  to  have  been  written  in  part  by  other  hands  than 
Shakspere's : 

Titus  Andronicus  is  thought  by  most  critics  to  have  been  the 
work  of  an  earlier  dramatist  and  merely  touched  up  by  Shakspere, 
though  some  suppose  it  to  be  mainly  his  own  work,  and  attribute  its 
inferiority  to  the  fact  of  its  being  his  earliest  play. 

The  three  parts  of  King  Henry  VI.,  which  are  recasts  of  two 
older  plays,  show  other  hands  than  Shakspere's.  The  general  opin- 
ion seems  to  be  that  Marlowe,  Greene,  Peele,  and  possibly  Shakspere 
wrote  the  old  plays,  and  that  they  were  revised  by  Shakspere,  with 
possibly  the  help  of  Marlowe. 

King  Richard  III.  is  referred  in  part  to  Marlowe  by  some  critics ; 
others  suppose  that  the  passages  ascribed  to  Marlowe  were  written 
by  Shakspere  under  the  influence  of  Marlowe,  his  probable  collabo- 
rator on  King  Henry  VI. 

A  large  part  of  Henry  VIII.  is  Judged  to  be  by  Fletcher,  viz., 
act  i.,  scenes  3  and  ^  ;  the  first  two  scenes  of  act  ii. ;  all  of  the  third 
act  except  the  second  scene  to  the  exit  of  the  king ;  and  all  the  re- 
mainder except  the  first  scene  of  act  v. 

The  first  and  second  acts  of  Pericles,  and  the  second,  fifth,  and 
sixth  scenes  of  the  fourth  act,  and  the  choruses,  are  attributed  to 
some  other  author  or  authors, 

Shakspere's  part  in  Taming  of  the  Shrew  is  limited  by  some 
critics  to  those  parts  in  which  Petruchio,  Katherine,  and  Grumio 
appear  prominently. 


24  INDEX  TO  SHAKSFERE'S   WORKS. 

Parts  of  the  witch-scenes  in  Macbeth  have  been  conjectured  to 
be  the  work  of  Thomas  Middleton,  author  of  the  play  "  The  Witch," 
who  is  supposed  to  have  assisted  in  preparing  Macbeth  for  the  stage. 

Others  have  seen  traces  of  other  hands  in  small  portions  of  the 
Comedy  of  Errors,  Much  Ado  about  Nothing,  the  part  of  Hymen  in 
As  You  Like  It,  Romeo  and  Juliet,  and  Timon  of  Athens;  and  the 
passage  at  the  end  of  act  Hi.  in  Jleasure  for  Measure,  the  song  be- 
ginning act  iv.,  and  the  fool's  rhymes  at  the  end  of  King  Lear,  Hi. 
2,  are  supposed  to  be  interpolations. 

Many  plays  have  been  ascribed  to  Shakspere  that  are  not  in- 
cluded in  the  ordinary  editions  of  his  works.  Of  these  The  Two 
Noble  Kinsmen  has  the  greatest  weight  of  opinion  in  its  favour.  It 
purports  to  be  the  work  of  Fletcher  and  Shakspere.  A  part  of  the 
first  and  all  of  the  second  act  of  Edward  III.  have  been  attributed 
to  him,  and  he  is  also  supposed  by  some  to  have  had  a  hand  in  The 
Yorkshire  Tragedy.  Other  plays  that  have  been  thought  to  bear 
traces  of  his  hand  are  Arden  of  Feversham,  The  Birth  of  3IerUn, 
Fair  Emm,  George  a  Green,  ^Larum  for  London,  The  Merry  Devil 
of  Edmonton,  Mucedorus,  and  Warning  for  Fair  Women. 

Autolycus,  an  amusing  and  unique  character  in  A  Winter's 
Tale,  a  pedlar,  thievish  and  witty. 

"  The  art  of  thieving  as  practised  by  him  is  no  crime,  but  the  gift 
of  some  knavish  god.  He  does  not  trample  on  the  laws  of  morality, 
but  dances  or  leaps  over  them  with  so  nimble  a  foot  that  we  forbear 
to  stay  him." — Dowden. 

Auvergne,  Countess  of,  a  character  in  /.  Henry  VI,  first  ap- 
pears in  a.  3,  having  sent  for  Talbot  {ii.  2),  in  hopes  to  keep  him  as 
a  prisoner.     This  incident  is  not  in  history. 

Avarice,  Malcolm  accuses  himself  of,  Macbeth,  iv.  3. 

Aversions,  instinctive,  Merchant  of  Venice,  iv.  L 

Avoid,  (avaunt),  Comedy  of  Errors,  iv.  3. 

Away  with,  cannot  (cannot  endure),  II.  Henry  I V.,  Hi.  2. 

Awful  (law-abiding),  Two  Gentlemen  of  Verona,  iv.  1 ;  (respect- 
ful toward  authority),  //.  Henry  IV.,  iv.  1. 

Awkward  (perverse),  Pericles,  v.  L 

Aye-word,  gull  him  into  an  (make  a  by-word  of  him  by  gulling 
him  ?),  Tivelfth  Night,  ii.  3. 


Macbeth,  i.  7 ;  at  my  breast  (the  asp),  Antony  and  Cleopatra,  v.  2. 
Baccara  (to  check  over-forwardness),  Taming  of  the  Shrew,  ii.  t. 


INDEX  TO  SHAKSPERE'S   WORKS.  25 

Bacchus,  song  to,  Antony  and  Cleopatra,  ii.  7. 

Bachelor,  of  threescore,  a.  Much  Ado  about  Nothing,  i.  1 ;  de- 
teniiinatioii  to  live  a,  3Iuch  Ado  about  Nothing,  i.  1,  ii.  3  ;  less  hon- 
ourable, As  You  Like,  It,  Hi.  3. 

Backgaminon,  spoken  of  under  its  old  name  "tables"  in 
Love's  Labour's  Lost,  v.  2. 

Bafla.e,  I  Henry  IV.,  i.  2.  To  hang  up  by  the  heels ;  punish- 
ment of  a  recreant  knight,  probably  alluded  to  again  in  //.  Henry 
IV.,  i.  2,  "to  punish  him  by  the  heels,"  and  in  AlFs  Well  that 
Ends  Well,  iv.  3,  "  his  heels  have  deserved  it,"  etc. 

Baflled  (abused),  Richard  IL,  i.  1. 

Bagot,  Sir  William,  a  character  in  Richard  IL,  introduced  in  i. 
3,  a  parasite  of  the  king. 

Bag-pipe,  the  melancholy,  A  Winter's  Tale,  iv.  3 ;  I.  Henry 
IV.,  i.  2. 

Bailie  (give).  Merry  Wives  of  Windsor,  i.  4. 

Bajazet's  mute,  AlVs  Well  that  Ends  Well,  iv.  L  Meaning  un- 
known. 

Balcony-scene,  Romeo  a?id  Juliet,  ii.  2. 

Balked  (heaped  or  buried),  I  Henry  IV.,  i.  1.  A  balk  is  a  little 
mound  or  ridge. 

Ballad(s) :  of  the  king  (Cophetua)  and  the  beggar.  Love's  La- 
bour's Lost,  i.  2 ;  Quince  to  write  a,  Midsummer-Night's  Dream,  iv. 
1 ;  sale  of,  A  Winter's  Tale,  iv.  <?  or  4 ;  as  a  means  of  revenge,  /. 
Henry  IV.,  ii.  2  ;  dread  of  being  the  subject  of,  A7itony  and  Cleo- 
patra, V.  2,  "  And  scaled  rhymers,"  etc. 

Ballad-mongers,  /.  Henry  IV.,  Hi.  1. 

Ballow  (staff).  King  Lear,  iv.  6. 

Balm.,  healing  of  wounds  by,  HI.  Henry  VL,  iv.  8 ;  Timon  of 
Athens,  Hi.  5 ;  Macbeth,  ii.  2 ;  meaning  the  oil  for  anointing  kings, 
Richard  IL,  Hi.  2 ;  III.  Henry  VI. ,  Hi.  1 ;  medicinal  gum,  Othello, 
V.  2. 

Balthasar,  a  servant  of  Portia  in  Merchant  of  Venice,  Hi.  4- 

Balthasar,  Romeo's  servant,  appears  in  Romeo  and  Juliet,  i.  1 
and  v.  3. 

Balthazar,  a  merchant  in  Comedy  of  Errors,  appears  in  Hi.  1. 

Balthazar,  a  servant  of  Don  Pedro  in  3Iuch  Ado  about  Noth- 
ing, introduced  in  i.  1. 

Banbury  cheese,  Slender  called.  Merry  Wives  of  Windsor,  i.  1. 
It  was  poor  and  thin. 

Bangor,  in  Wales,  scene  of  part  of  I.  Henry  IV. 


26  INDEX  TO  SHAKSPERE'S.  WORKS. 

Banishment,  Tivo  Gentlemen  of  Verona,  iii.  1 ;  iv.  1 ;  of  Rosa- 
lind, As  You  Like  It,  i.  3 ;  oi  Bolingbroke  and  Norfolk,  Richard 
IL,  i.  3 ;  the  bitter  bread  of,  Richard  IL,  iii.  1;  of  Coriolanus,  iii. 
3 ;  of  Romeo,  Hi.  2,  3  ;  of  Alcibiades,  Timon  of  Athens,  Hi.  5  ;  of 
Kent,  King  Lear,  i.  1 ;  real,  King  Lear,  i.  1. 

Bank'd,  their  towns  (passed  by  the  towns  on  the  banks  of  riv- 
ers), King  John,  v,  2. 

Bankrupt,  a  poor  and  broken.  As  You  Like  It,  ii.  1;  heart, 
a,  Romeo  and  Juliet,  iii.  2 ;  servants  of  a,  Timon  of  Athens, 
iv.  2. 

Bankruptcy,  Timon  of  Athens,  ii.  2 ;  iii.  2. 

Banners,  on  outer  walls,  Macbeth,  v.  5. 

Banquet,  served  by  spirits,  The  Tempest,  iii.  3 ;  of  the  Capn- 
lets,  Romeo  and  Juliet,  i.  5  ;  for  a  mother,  of  her  son's  flesh,  Titus 
Andronicus,  v.  2,  3. 

Banquo,  an  important  character  in  Ifacbeth,  a  general  in  the 
army  that  suppressed  the  revolt,  i.  2.  The  witches  prophesy,  in  i.  3, 
that  he  shall  be  the  father  of  a  line  ©f  kings.  See  Apparitions. 
Like  Macbeth,  he  is  tempted  to  take  measures  for  realizing  the 
prophecy,  ii.  1,  "  Restrain  in  me  the  cursed  thoughts,"  etc.,  but  he 
thrusts  aside  the  temptation,  and  preserves  his  integrity  and  his  loy- 
alty. He  is  described  by  Macbeth,  in  iii.  1,  and  his  murder  planned ; 
murdered,  iii.  3 ;  his  ghost  appears  to  Macbeth,  iii.  4- 

Baptism,  of  Elizabeth,  Henry  VIII. ,  v.  5  ;  symbol  of,  Henry  V., 
i.2;  Othello,  ii.  3. 

Baptista,  the  player-queen  in  Hamlet,  iii.  2.  A  man's  name, 
though  with  the  feminine  ending. 

Baptista  Minola,  father  of  Katherina  and  Bianca  in  Taming 
of  the  Shrew,  introduced  in  i.  1 — a  "narrow-prying  father." 

Bar,  Duke  of,  mentioned,  Henry  V.,  Hi.  5;  iv.  8. 

Barabbas,  Merchant  of  Venice,  iv.  L    (See  Matthew,  xxvii.  20.) 

Barbarians,  Roman,  Coriolanus,  iii.  1. 

Barbary,  Bolingbroke's  horse,  Richard  II.,  v.  5. 

Barbason  (a  demon).  Merry  Wives  of  Windsor,  ii.  2,  end  ;  Hen- 
ry v.,  ii.  1. 

Barber-monger  (companion  of  barbers  ?),  King  Lear,  ii.  2. 

Barber's  shop,  forfeits  in  a,  Pleasure  for  Pleasure,  v.  1.  Allud- 
ing to  the  custom  of  imposing  forfeits  for  bad  conduct  on  the  loun- 
gers in  barber-shops. 

Barbury  hen,  a,  //.  Henry  IV.,  ii.  4- 

BaTdplph,  LortJ,  character  in  II.  Henry  IV.,  appears  in  i.  i, 


INDEX  TO  SHAKSPEEE'S   WORKS.  27 

where  he  brings  false  news  to  Northumberland,  and  in  i.  3,  where  he 
meets  the  other  leaders  of  the  rebellion. 

Bardolph,  one  of  the  disreputable  companions  of  Falstaff,  char- 
acter in  the  Merry  Wives  of  Windsor,  the  two  parts  of  Henry  IV., 
and  Henry  V.  In  the  first  three  he  is  a  corporal,  in  the  last  lieutenant. 
He  is  introduced  in  the  first  scene  of  the  Merry  Wives  of  Windsor, 
and  in  the  second  acts  of  the  other  plays.  He  is  a  great  drunkard, 
and  his  red  nose  is  the  inspiration  of  continual  jests  {Henry  V.,  i.  2, 
3).  Falstaff  calls  him  the  "Knight  of  the  Burning  Lamp."  His 
character  is  described  in  Henry  V.,  Hi.  2 ;  his  face.  Hi.  6,  He  is 
sentenced  for  stealing  a  pyx.  Hi.  6,  and  hanged,  iv.  4,  end. 

Barefoot,  I  must  dance,  Taming  of  the  Shrew,  ii.  1.  Alluding 
to  the  notion  that,  if  a  younger  sister  were  married  first,  the  elder 
must  dance  barefoot  at  her  wedding,  or  surely  be  an  old  maid. 

Bargain,  sold  him  a  (taken  him  in),  Love's  Labour's  Lost,  Hi.  1; 
close  at  a,  /.  Henry  IV.,  Hi.  L 

Barge,  Cleopatra's,  Antony  and  Cleopatra,  ii.  2. 

Bargulus  (or  Bardylis),  II.  Henry  VI,  iv.  1.  Mentioned  by 
Cicero.     He  was  a  pirate,  and  rose  to  be  King  of  Hlyria. 

Barkloughly  Castle,  Richard  11^  Hi.  2.  No  such  castle  is 
known. 

Barm  (yeast),  Midsummer-NighVs  Dream,  ii.  1. 

Barnacles,  we  shall  be  turned  to.  The  Tempest,  iv.  1.  There 
was  a  notion  prevalent  that  the  barnacle-goose  was  a  transformation 
of  the  barnacle,  an  idea  which  gave  rise  to  the  custom  in  France  of 
eating  the  bird  on  fast-days,  as  being  of  fishy  substance. 

Bamardine,  a  brutish  prisoner  in  Measure  for  Measure,  intro- 
duced in  iv.  3. 

Barnet,  battle  of  (April  14,  1471),  III  Henry  VI.,  v.  2,  3. 

Barrenness,  supposed  cure  for,  Julius  Ccesar,  i.  2. 

Bartholomew,  a  page  who  plays  the  part  of  Sly's  wife  in  the 
induction  to  the  Taming  of  the  Shrew. 

Bartholomew-pig,  II.  Henry  IV.,  ii.  4-  Allusion  to  the 
roasted  pigs  which  were  a  feature  of  the  Smithfield  Fair  on  Saint 
Bartholomew's  Day. 

Bartholomew-tide  (August  24),  Henry  V.,  v.  2. 

Basan,  the  hill  of,  Antony  and  Cleopatra,  Hi,  11  or  13.  (See 
Psalm  xxii.,  12.) 

Base,  prisoner's,  allusions  to.  Two  Gentlemen  of  Verona,  i.  2 ; 
the  country,  Cymbeline,  v.  4;  Venus  and  Adonis,  I.  303 :  to  bid  the 
wind  a  base,  to  challenge  it  to  run  a  race. 


28  INDEX  TO  SEAKSPEEE'S   WORKS. 

Basilisco-like,  King  John,  i.  1.  Name  of  a  character,  a  brag- 
gart knight,  in  an  old  play,  Soliman  a7id  Perseda,  who  insists  on 
being  addressed  by  his  title. 

Basilisk,  the  (or  cockatrice),  allusions  to  its  supposed  power  of 
poisoning  by  its  look,  Twelfth  Night,  Hi.  4;  A  Winter's  Tale,  i.  2 ; 
II.  Henry  VI.,  Hi.  2 ;  III.  Henry  VI.,  Hi.  2 ;  Richard  III.,  i.  2 ; 
iv.  1;  Romeo  and  Juliet,  Hi.  2 ;  Cymheline,  H.  J^;  Lucrece,  I.  5Jfi. 

Basilisks  (pieces  of  ordnance),  /.  Henry  IV.,  ii.  3 ;  Henry  V., 
V.2. 

Bassanio,  a  character  in  the  3Ierchant  of  Venice,  introduced  in 
the  first  scene.  It  is  to  furnish  him  with  the  means  to  go  as  a  suitor 
to  the  rich  Portia  that  Antonio  has  borrowed  from  Shylock.  In  the 
early  part  of  the  play  Bassanio  appears  a  selfish  and  criminally  care- 
less fellow,  a  fortune-hunter,  and  hunting  fortune  at  a  fearful  risk  to 
his  friend,  whom  he  expects  to  repay  with  the  money  of  his  future 
wife.  But  in  the  later  scenes  of  the  play,  when  he  makes  his  choice 
of  the  caskets,  and  particularly  when  Antonio  is  in  danger  and  he  is 
ready  to  sacrifice  everything  to  his  obligations  to  his  friend,  the 
more  manly  and  genuine  qualities  of  his  nature  are  revealed,  and 
justify  the  love  in  which  he  is  held  by  Antonio  and  Portia. 

Basset,  a  character  in  /.  Henry  VI.,  a  Lancastrian,  appears  in 
Hi.  4,  in  a  quarrel  with  Vernon,  and  again  in  iv.  1. 

Bassianus,  character  in  Titus  Andronicus,  brother  of  Saturni- 
nus,  introduced  in  i.  1,  where  he  offers  himself  as  a  candidate  for  the 
crown,  and  in  the  same  scene  he  speaks  of  his  love  for  Lavinia ;  his 
murder,  ii.  3. 

Basta  (enough),  Taming  of  the  Shreiv,  i.  1. 

Bastard  (wine),  Measure  for  Measure,  Hi.  2 ;  I.  Henry  IV., 
ii.  4' 

Bastard  of  Orleans.     See  Orleans. 

Bastard(s),  Perdita  branded  as  a,  A  Winter's  Tale,  ii.  3;  I  love, 
Troilus  and  Cressida,  v.8;  Edmund's  soliloquy  on.  King  Lear,  i.  2  ; 
all,  Cymbeline,  ii.  4 ;  in  flowers,  A  Winter's  Tale,  iv.  3. 

Bat,  the,  Ariel's  steed.  The  Tempest,  v.  1 ;  flight  of  the,  Macbeth, 
Hi.  2 ;  wool  of  the,  in  the  witches'  cauldron,  Macbeth,  iv.  1. 

Bate  (to  blunt).  Love's  Labour's  Lost,  i.  1 ;  (to  flutter  as  a  fal- 
con preparing  for  flight),  Taming  of  the  Sh'  ew,  iv.  1. 

Bates,  a  soldier  in  the  king's  army  in  Henry  V.,  first  appears  in 
IV.  1,  where  he  speaks  his  mind  about  the  king  to  the  king  himself  in 
disguise. 

Bath,  a  seething.  Sonnets  cliii.,  cliv. 


INDEX  TO  SHAKSPERE'S    WORKS,  29 

Batler  (used  for  beating  soiled  clothes  in  water),  As  You  Like  It^ 

a.  4. 

Battle,  orders  in,  criticised,  AWs  Well  that  Ends  Well,  Hi.  6  ; 
the  dead  in.  King  John,  ii.  2 ;  eagerness  for,  Z  Henry  IV.,  iv.  1, 
3,  "No  more,  no  more"  ;  conference  before,  /.  Henry  IV.,  v.  1;  the 
sun  on  the  morning  of,  /.  Henry  IV.,  v.  1;  before  a,  Henry  V.,  Hi. 
7;  iv.,  chorus;  iv.  £,  3 ;  jfield  of,  Henry  V.,  iv.  7 ;  varying  fortunes 
of,  III.  Henry  VI.,  ii.  5 ;  address  to  soldiers  before,  Richard  III, 
V.3. 

Battle  (often  used  instead  of  army),  Julius  CcBsar,  v.  1. 

Battles,  Cymheline,  v.  2,3  ;  in  France,  I.  Henry  VI.,  iv.  6 ;  be- 
tween Greeks  and  Trojans,  Troilus  and  Cressida,  v.  4,  5,  6  ;  between 
Glendower  and  Mortimer,  /.  Henry  IV.,  i.  1 ;  in  France,  I.  Henry 
VI.,  iv.  6.  See  Actium,  Agincourt,  Barxet,  Bos  worth,  Corioli, 
DuNsiNANE,  Mortimer's  Cross,  Philippi,  St.  Alban's,  Shrews- 
bury, Tewksbury,  Towton,  Wakefield. 

Bavin  (kindling  or  brush-wood),  /.  Henry  IV.,  Hi.  2. 

Bawcock  (beau  coq),  used  for  brave  boy.  Twelfth  Night,  Hi.  4  ; 
A  Winter's  Tale,  i.  2. 

Bay,  three  pence  a,  lleasure  for  lleasure,  ii.  1 ;  the  distance 
between  the  beams  of  a  house,  by  the  number  of  which  the  sizes  of 
houses  were  reckoned. 

Baynard's  Castle,  Richard  III.,  Hi.  5.  A  house  where  Rich- 
ard had  lived,  on  the  bank  of  the  river  in  Thames  Street,  London, 
said  to  have  been  built  by  a  nobleman,  BajTiard,  who  came  in  with 
the  Conqueror ;  it  was  burned  twice,  the  second  time  in  1666. 

Bayonne,  Bishop  of,  Henry  VIII.,  ii.  4. 

Bay-trees,  are  withered,  Richard  II.,  ii.  4.  The  bay-tree  was 
supposed  to  keep  off  sickness  and  the  devil,  so  that  its  withering  was 
an  evil  omen. 

Beads  (rosary).  Comedy  of  Errors,  ii.  2;  Richard  II,  Hi.  3  ; 
Richard  III.,  Hi.  7. 

Beadsman,  I  will  be  thy  (will  pray  for  thee),  Two  Gentlemen  of 
Verona,  i.  1. 

Beadsmen,  Richard  II.,  ii.  2. 

Bear,  Antigonus  killed  by  a,  A  Winter's  Tale,  Hi.  3 ;  Sackerson, 
a  famous.  Merry  Wives  of  Windsor,  i.  i;  a  bush  supposed  a,  Mid- 
summer-Nighf s  Dream,  v.  1 ;  and  ragged  staff,  arms  of  Warwick, 
//.  Henry  VI.,  v.  1 ;  unlicked  whelp  of  a,  III.  Henry  VI.,  Hi.  2 ; 
betrayed  with  glasses,  Julius  Cmsar,  H.  1, 

Bear,  the  (constellation),  Othello,  H.  L 
3 


30  INDEX  TO  SHAKSPERE'S    WORKiS, 

Bear-baiting,  allusion  to,  "  fight  the  course,"  llacbeth,  v.  5. 

Beard,  a  cain-coloured  (red),  Merry  Wives  of  Windsor,  i.  4 ;  on 
a  woman,  Merry  Wives  of  Windsor,  iv.  2 ;  for  an  actor,  Midsummer- 
NigMs  Dream,  i.  2  ;  Jove  send  thee  a.  Twelfth  Night,  Hi.  1 ;  great- 
er than  Dobbin's  tail.  Merchant  of  Venice,  ii.  2  ;  turned  white  with 
the  news,  /.  Henry  IV.,  H.  4;  a  youth's,  Troilus  and  Cressida,  i.  2 ; 
of  witches,  Macbeth,  i.  3 ;  the  insult  of  plucking  the,  Hamlet,  ii.  2  ; 
"many  a  wart,"  etc.,  King  Lear,  Hi.  7 ;  shaving  the,  in  respect,  An- 
tony and  Cleopatra,  ii.  2. 

Bearing-cloth  (christening-robe),  A  Winter's  Tale,  Hi.  3 ;  I. 
Henry  VI.,  i.  3. 

Bear  in  hand  (keep  along  in  expectation),  Pleasure  for  Pleas- 
ure, i.  5  ;  II.  Henry  IV.,  i.  2  ;  Macbeth,  Hi.  1. 

Beast(s),  a,  of  good  conscience,  Midsummer-NigM s  Dream,  v.  1 ; 
particular  additions  (attributes)  of,  Troilus  and  Cressida,  i.  2  ;  know 
their  friends,  Coriolaiius,  ii.  1;  how  betrayed,  Julius  Ccesar,  ii.  1; 
strife  among,  Timon  of  Athens,  iv.  3  ;  would  have  mourned  longer, 
Hamlet,  i.  2;  let  a  beast  be  lord  of  beasts,  Hamlet,  v.  2 ;  since  men 
prove,  Lucrece,  I.  II4S. 

Beatrice,  the  principal  female  character  in  Much  Ado  about 
Nothing,  introduced  in  the  first  scene.  She  is  perhaps  the  wittiest 
of  Shakspere's  women.  Her  raillery  is  unsparing,  especially  toward 
Benedick,  whom  she  singles  out  from  the  first  for  special  attack. 
But  she  is  at  the  same  time  warm-hearted  and  affectionate,  as  shown 
by  her  faithful  and  generous  defence  of  Hero,  when  every  one  else, 
even  Hero's  father,  believed  in  her  guilt. 

"  Her  true  love  for  Hero,  her  deep  conviction  of  her  innocence, 
her  anger  at  the  designed  malice  of  her  public  dishonour,  stir  up  her 
whole  soul  and  convert  it  into  a  perfect  contrast  to  that  which  we 
have  seen  in  her  hitherto.  This  scene  {iv.  1 )  possesses  infinite  effect 
when  performed  without  the  least  caricature,  displaying  those  acutely 
sensitive  natures  in  all  their  agitation  of  feeling,  yet  without  falling 
into  a  sentimental  tone,  of  which  they  are  incapable.  Sorrow  for 
Hero  and  for  the  honour  of  her  house  makes  Beatrice  gentle,  tender, 
and  weakened  into  tears  ;  this  '  happy  hour '  facilitates  to  both  their 
serious  confession.  But,  at  the  same  time,  this  hour  of  misfortune 
tests  them  [Benedick  and  Beatrice],  accustomed  as  they  are  only  to 
jest  and  raillery,  by  a  heavy  trial,  in  the  sustaining  of  which  we  are 
convinced  that' these  gifted  natures  are  not  devoid  of  that  seriousness 
of  life  which  regards  no  earnest  situation  with  frivolity." — Gervinus. 

Beauchamp.     See  Warwick. 

Beaufort,  Edmund  and  John.     See  Somerset. 

Beaufort,  Henry,  Cardinal.    See  Winchester. 


INDEX  TO  SHAKSPERE'S   WORKS.  31 

Beaufort,  Thomas.     See  Exeter. 

Beaumond,  Lord  Henry,  mentioned  in  Richard  II.,  H.  2,  as  one 
of  Bolingbroke's  adherents. 

Beaumont,  a  French  noble,  killed  at  Agincourt,  mentioned, 
Henry  V.,  in.  5 ;  iv.  8. 

Beautified,  a  vile  phrase,  Hamlet,  ii.  2. 

Beauty,  that  nothing  ill  can  dwell  in,  The  Tempest,  i.  2 ;  holi- 
day time  of,  Merry  Wives  of  Windsor,  ii.  1 ;  is  a  witch,  3Iuch  Ado 
about  Nothing,  ii.  1 ;  bought  by  judgment  of  eyes,  Love's  Labour's 
Lost,  ii.  1;  makes  young.  Love's  Labour's  Lost,  iv.  3;  praise  of, 
Love's  Labour's  Lost,  iv.  3 ;  Midsummer-Night's  Dream,  Hi.  2; 
Cymbeline,  v.  5 ;  Merchant  of  Venice,  i.  1;  deceitfulness  of,  Merchant 
of  Venice,  Hi.  2 ;  Portia's,  Merchant  of  Venice,  Hi.  2 ;  provoketh 
thieves.  As  You  Like  It,  i.  3 ;  with  honesty.  As  You  Like  It,  Hi.  3 ; 
no  more  than  may  go  dark  to  bed,  As  You  Like  It,  Hi.  5 ;  of  Helena, 
All's  Well  that  Ends  Well,  v.  3;  all  by  God,  Tivelfth  Night,  i.  5; 
scheduled,  Twelfth  Night,  i.  5 ;  purged  pestilence,  Twelfth  Night,  i. 
1 ;  virtue  is,  Twelfth  Night,  Hi.  If. ;  of  a  low-born  lass,  A  Winter's 
Tale,  iv.  3  ;  short-lived,  Hejiry  V.,  v.  2 ;  to  be  wooed,  L  Henry  VI., 
V.  3 ;  if  beauty  have  a  soul,  Troilus  and  Cressida,  v.  2;  without 
renown,  Coriolanus,  i.  3  ;  unapproachable,  Romeo  and  Juliet,  i.  1 ; 
in  comparison,  Romeo  and  Juliet,  i.  2,  end;  manly,  Romeo  and 
Juliet,  i.  3;  upon  the  cheek  of  night,  Romeo  and  Juliet,  i.  5 ;  light 
of,  Romeo  and  Juliet,  H.  2 ;  with  wickedness,  Romeo  and  Juliet,  Hi. 
2  ;  and  honesty,  Hamlet,  Hi.  1 ;  sense  of,  in  inanimate  objects,  Othello, 
n.  1,  speech  of  Cassio ;  and  ugliness,  Cymbeline,  i.  6  ;  Imogen's,  Cym- 
beline, ii.  2 ;  Hi.  5,  6 ;  of  the  daughter  of  Antiochus,  Pericles,  i.  2, 
2;  child  of,  Pericles,  ii.  2 ;  Venus  and  Adonis,  I.  7 ;  dead,  Ve?ius 
and  Adonis,  I.  1076  ;  effect  of,  on  animals,  I.  1093  ;  needs  no  orator, 
Lucrece,  I.  29;  of  Lucretia,  Lucrece,  I.  52 ;  made  more  beauteous 
with  truth.  Sonnet  liv. ;  the  mark  of  slander.  Sonnet  Ixx. ;  and 
flowers,  Sonnet  xcix. ;  unchanged,  Sonnet  civ. ;  descriptions  of. 
Sonnet  cvi. ;  traces  of,  Lover's  Complaint,  I.  10 ;  manly,  Lover's 
Complaint,  I.  85 ;  fleeting.  The  Passionate  Pilgrim,  xHi.;  should  be 
perpetuated  in  children.  Twelfth  Night,  i.  5;  Sonnets  i.  to  xvH.; 
inspiration  of  poetry.  Sonnets  Ixxviii.  to  Ixxx.,  Ixxxiv. ;  made  richer 
by  truth,  Sonnet  liv. ;  decay  of,  Sonnets  Ix.,  Ixv.,  Ixvii. ;  living  in 
poetry.  Sonnets  xv.  to  xix.,  Ixiii.,  Ixv.,  ci.,  cvH. ;  change  in.  Sonnets 
Ixvii.,  Ixviii. ;  of  the  mind,  Sonnet  Ixix. 

Bedlam,  the  (lunatic),  II.  Henry  VI.,  Hi.  1;  King  Lear,  Hi.  7,  end, 

Bedlam  beggar,  tricks  of  a,  King  Lear,  ii.  3. 


32  INDEX  TO  SHAKSPERE'S  WORKS, 

Bedford,  John,  Duke  of,  third  son  of  Henry  IV.,  known  as 
Prince  John  of  Lancaster  in  II.  Henry  IV.,  and  as  Duke  of  Bedford 
in  Henry  V.  and  /.  Henry  VI.,  introduced  in  the  second  scene  of 
the  former,  and  first  of  the  latter.  He  is  represented  in  the  play  as 
having  been  at  Harfleur  and  Agincourt,  though  he  really  stayed  at 
home  as  lieutenant  of  the  whole  realm  of  England.  Henry  V.,  on 
his  death-bed,  made  him  Regent  of  France.  He  was  prudent,  patri- 
otic, and  skilful ;  the  greatest  blot  on  his  record  is  his  treatment  of 
Joan  of  Arc,  whom  he  caused  to  be  burned  as  a  witch.  He  is  said 
to  have  died  of  grief  for  the  Treaty  of  Arras,  which  united  the  Duke 
of  Burgundy  and  Charles  YII.  His  death  (J.  Henry  VI.,  Hi.  2)  oc- 
curred in  1435. 

Beef,  not  good  for  the  wit,  Twelfth  Night,  i.  3 ;  beef-witted, 
Troihis  and  Oressida,  ii.  1.    See  Meats. 

Beelzebub,  Twelfth  Night,  v.  1. 

Beer,  small,  II.  Henry  IV.,  ii.  2  ;  Othello  ii.  1. 

Bees,  the,  The  Tempest,  v.  1,  song ;  murdered  for  their  pains,  II. 
Henry  IV.,  iv.  4  ;  commonwealth  of,  Henry  V.,  i.  2. 

Beetle,  the,  sufferings  of,  in  death.  Measure  for  Measure,  Hi.  1  ; 
shard-borne,  Macbeth,  Hi.  2  ;  Antony  and  Cleopatra,  Hi.  2 ;  Cyrnbe- 
line.  Hi.  3. 

Beetle,  a  three-man  (a  pile-driver  with  three  handles),  II.  Henry 
IV.,  i.  2. 

Beggar(s),  how  a,  should  be  answered.  Merchant  of  Venice,  iv. 
1 ;  a,  made  to  think  himself  a  king,  Taming  of  the  Shrew,  induc- 
tion, i.  ;  railing  on  the  rich,  King  John,  ii.  2  ;  mounted.  III.  Henry 
VI.,  i.  If, ;  book  (learning)  of,  Henry  VIII.,  i.  1 ;  no  comets  seen  at 
death  of,  Julius  Ccesar,  H.  1. 

Beggary,  Falstaff  on,  //.  Henry  IV.,  i.  2 ;  led  by  delay,  Rich- 
ard III,  iv.  3. 

Behaviour,  what  wert  thou  till  this  man  showed  thee  ?  Love's 
Labour's  Lost,  v.  2  ;  advice  on,  Merchant  of  Venice,  ii.  2  ;  King  Lear., 
i.  Jf.,  "  Have  more  than  thou  showest,"  etc. ;  an  index  of  character, 
Ttvelfth  Night,  i.  2  ;  advice  to  a  young  man  on,  Hamlet,  i.  3. 

Belarius,  a  banished  lord  in  Cymbeline,  introduced  in  Hi.  3. 
He  goes  by  the  name  of  Morgan ;  tells  his  own  story.  Hi.  3 ;  his 
bravery,  v.  3 ;  avows  his  identity,  v.  5. 

Belch,  Sir  Toby,  uncle  of  Olivia  in  Twelfth  Night,  introduced 
in  i.  3. 

"  A  drunkard,  a  coarse  realist  of  the  lowest  sort,  he  yet  possesses 
a  slyness  in  seeing  through  the  weaknesses  of  men  who  do  not  lie 


INDEX  TO  SHAKSPERE'S    WORKS.  ^3 

beyond  his  range  of  vision ;  rough  and  awkward  in  his  manners,  he 
yet  so  far  knows  how  to  assume  the  fashions  of  the  town  as  to  impose 
upon  Sir  Andrew  ;  impudent  enough  to  make  an  alehouse  of  Olivia's 
palace,  and  to  take  no  heed  when  she  orders  him  to  leave,  he  yet 
knows  how  to  keep  on  good  footing  with  the  servants  of  the  house." 

Belgia,  Comedy  of  Errors,  Hi.  2. 

Bellario,  Doctor,  Portia's  cousin  in  Padua,  Mercliant  of  Venice, 
Hi.  4,  'i'v.  1. 

Bellona's  bridegroom  (Macbeth),  Macbeth,  i.  2.  Bellona  was 
a  Roman  war  goddess. 

Bell(s),  curfew.  The  Temped,  v.  1 ;  Measure  for  Measure,  iv.  2  ; 
Romeo  and  Juliet,  iv.  4;  King  Lear,  Hi.  4;  church.  As  You  Like  It, 
ii.7  ;  Twelfth  Night,  v.  1 ;  book  and  candle.  King  John,  Hi.  3  ;  pass- 
ing, 11.  Henry  IV.,  i.  1 ;  Romeo  and  Juliet,  v.  3 ;  sweet,  jangled, 
Hamlet,  Hi.  1;  the  funeral,  Hamlet,  v.  1. 

Belly,  the,  and  the  members,  fable  of,  Coriolanus,  i.  1.  A  very 
old  fable,  perhaps  by  -^sop. 

Belman,  a  dog.  Taming  of  the  Shrew,  induction,  i. 

Belmont,  scene  of  a  part  of  the  Mercha7it  of  Venice.  It  was 
the  name  of  the  residence  of  the  heroine  in  the  original  tale,  where 
it  is  only  described  as  being  on  a  gulf. 

Benedick,  an  important  character  in  3Iuch  Ado  ahout  Nothing, 
introduced  in  the  first  scene.  The  war  of  wit  between  him  and  Bea- 
trice constitutes  the  great  attractiveness  of  the  play,  and  the  plot  by 
which  each  is  made  to  believe  in  the  infatuation  of  the  other,  and  by 
which  they  are  brought  together,  relieves  the  more  serious  plot  against 
the  honour  of  Hero.     See  Beatrice. 

Benedictions.     See  Blessings. 

Benefits,  forgot.  As  You  Like  It,  ii.  7,  sony. 

Bennet,  St.,  Church  of,  in  Upper  Thames  Street,  London,  Twelfth 
Night,  V.  1. 

Bentivolii,  family  of  Lucentio  in  Taming  of  the  Shrew,  i.  L 

Benvenuto  (welcome).  Love's  Labour's  Lost,  iv.  2 ;  Taming  oj 
the  Shrew,  i.  2. 

Benvolio,  character  in  Romeo  and  Juliet,  first  appearing  in  ^^  L 
Romeo's  cousin  and  friend. 

Berkeley,  Thomes,  fifth  baron,  character  in  Richard  IL,  intro- 
duced in  ii.  3.  He  was  one  of  the  commission  sent  to  notify  Richard 
of  his  deposition. 

Berkeley,  a  gentleman  attending  on  Lady  Anne  in  Richard 
III,  introduced  in  i.  2. 


34  INDEX  TO  SHAKSPERE'S  WORKS. 

Berkeley  Castle,  in  Gloucestershire,  Richard  II.,  ii.  3,  3 ;  I. 
Henry  IV.,  i.  3, 

Bermoothes.     See  Bermudas. 

Bermudas,  the,  The  Tempest,  i.  2.  Spelled  Bermoothes  accord- 
ing to  the  Spanish  pronunciation.  One  Silvester  Jourdan  had  pub- 
lished, not  long  before  this  play  was  written,  "  A  Discovery  of  the 
Bermudas,  otherwise  called  the  Isle  of  Divels,"  giving  an  account 
of  the  wreck  of  a  ship  of  Sir  George  Somers.  Purchas,  too,  in  his 
"  Pilgrimage,"  spoke  of  the  Bermudas  as  "  rent  with  tempests." 

Bernardo,  an  officer  in  Hamlet,  introduced  in  i.  1. 

Berowne,  or  Biron(e),  one  of  the  lords  attending  on  the  king  in 
Love's  Laiour's  Lost,  the  most  sharply  characterized  among  them,  a 
wit  who,  as  Coleridge  says,  is  "  evidently  the  pre-existent  state  of 
Benedick"  in  Much  Ado  about  Nothing.  He  is  introduced  in  the 
first  scene. 

Berri,  Duke  of,  Henry  V.,  Hi.  5. 

Bertram,  Count  of  Rousillon,  character  in  AWs  Well  that  Ends 
Well,  introduced  in  i.  1,  a  character  very  differently  estimated  by 
critics.  Dr.  Johnson  says  of  it :  "I  cannot  reconcile  my  heart  to 
Bertram,  a  man  noble  without  generosity,  and  young  without  truth ; 
who  marries  Helena  as  a  coward,  and  leaves  her  as  a  profligate." 
Gervinus  says :  "  The  nobility  of  a  fine  nature  is  innate  in  Bertram ; 
his  degeneracy  into  pride  is  only  youthful  error.  ...  No  inner  men- 
tal life  has  yet  penetrated  his  years  of  churlishness."  While  it  is 
difficult  to  avoid  regarding  Bertram  as  something  of  a  sneak,  yet  it 
seems  evident  that  Shakspere  meant  to  portray  him  as  one  whose 
errors  spring  from  an  overweening  pride  of  birth  excusable  to  the 
heir  of  a  name  and  fortune  like  his,  from  the  natural  thought- 
lessness of  youth,  and  from  the  influence  of  the  vile  Parolles,  and 
by  no  means  unredeemable  by  the  influence  of  a  woman  like  Helena, 
when  once  he  is  brought  to  appreciate  her  worth. 

Besort  (attendance),  Othello,  i.  3. 

Bestraught  (distraught).  Taming  of  the  Shrew,  induction,  2. 

Beteem,  to  pour  out,  or  to  afford,  3Iidsummer-Nighf s  Dream, 
i.  1 ;  to  permit,  Hamlet,  i.  2. 

Betrayal,  of  Antony,  iv.  10  or  12. 

Betrothals,  The  Tempest,  Hi.  1 ;  iv.  1;  A  Winter's  Tale,  iv.  8 ; 
Merchant  of  Venice,  Hi.  2 ;  violation  of.  Measure  for  Measure,  Hi. 
1;  secret,  Twelfth  Night,  iv.  3 ;  v.  1;  proposed.  King  John,  ii, 
1  or  2. 

Bevel  (not  morally  upright).  Sonnet  cxxi. 


INDEX  TO  SHAKSPERE'S  WORKS.  35 

Be  vis,  George,  a  follower  of  Jack  Cade,  //.  Hejwy  VL,  iv.  2. 

Bevis  (of  Hampton),  Henry  VIII.,  i.  1.  Made  Earl  of  South- 
ampton by  the  Conqueror.  There  were  wonderful  stories  of  his 
bravery. 

Bewilderment,  like  madness.  Twelfth  Night,  iv.  3  ;  Venus  and 
Adonis,  I  894. 

Bezonian  (Italian  bisogjio,a,  beggar,  or  a  raw  recruit),  //.  Henry 
IV.,  V.  S;  II  Henry  VI.,  iv.  1. 

Bianca,  sister  of  the  Shrew  in  the  Taming  of  the  Shrew,  intro- 
duced in  the  first  scene — a  contrast  to  her  sister. 

Bianca,  Cassio's  mistress  in  Othello,  introduced  in  Hi.  4. 

Bias,  Taming  of  the  Shrew,  iv.  5 ;  Richard  11,  Hi.  4-  A  weight 
on  one  side  of  a  bowl  to  incline  it  in  running.  Anything  that  ran 
against  it  was  a  rub. 

Bible,  the,  allusions  to :  Adam,  Comedy  of  Errors,  iv.  3  ;  Love's 
Labour's  Lost,  iv.  2 ;  Much  Ado  about  Nothing,  ii.  1;  As  You  Like 
It,  ii.  1;  I.  Henry  IV.,  Hi.  3 ;  Henry  V.,  i.  1;  II.  Henry  VI.,  iv.  2 ; 
Hamlet,  v.  1 ;  and  Eve,  Love's  Labour's  Lost,  v.  2 ;  Richard  II,  Hi. 
4.  Eve,  Two  Gentlemen  of  Verona,  Hi.  1 ;  Merry  Wives  of  Wind- 
sor, iv.  2;  Love's  Labour's  Lost,  i.  1;  Twelfth  Night,  i.  5.  Cain, 
Love's  Labour's  Lost,  iv.  2 ;  King  John,  Hi.  4;  Richard  II.,  v.  6  ; 
II  Henry  IV.,  i.  1;  I.  Henry  VI.,  i.  3  ;  Hamlet,  v.  1.  Abel,  Rich- 
ard II,  i.  1 ;  I.  Henry  VI.,  i.  3.  Abraham,  Merchant  of  Venice,  i. 
3;  Richard  II. ,  iv.  1;  Richard  III.,  iv.  3.  Jacob,  Merchant  of 
Venice,  i.  3  ;  ii.  5.  Laban,  Merchant  of  Venice,  i.  3.  Hagar,  Mer- 
chant of  Venice,  ii.  5.  Noah,  Twelfth  Night,  Hi.  2.  Japheth,  II. 
Henry  IV.,  ii.  2.  The  deluge.  Comedy  of  Errors,  Hi.  2.  The  ark, 
As  You  Like  It,  v.  4.  Pharaoh,  Much  Ado  about  Nothing,  Hi.  3  ; 
I.  Henry  IV.,  ii.  4.  Jael,  The  Tempest,  Hi.  2,  "Where  thou  mayst 
knock  a  nail  into  his  head."  Job,  Merry  Wives  of  Windsor,  v.  5  ; 
II  Henry  IV.,  i.  2.  Deborah,  /.  Henry  VI,  i.  2.  Daniel,  Merchant 
of  Venice,  iv.  1.  Nebuchadnezzar,  All's  Well  that  Ends  WeU,iv.  5. 
Samson,  Love's  Labour's  Lost,  i.  2;  I.  Henry  VI,  i.  2;  Henry 
VIII.,  V.  4.  Goliath,  Merry  Wives  of  Windsor,  v.  1 ;  I.  Henry  VI, 
i.  2.  David,  //.  Henry  IV.,  Hi.  2.  Achitophel,  II.  Henry  IV.,  i.  2. 
Solomon,  Love's  Labour's  Lost,  i.  2  ;  iv.  3.  The  Queen  of  Sheba, 
Henry  VIIL,  v.  5.  Jezebel,  Ttvelfth  Night,  ii.  5.  Jephthah,  //. 
Henry  VI.,  Hi.  2;  III  Henry  VI.,  v.  1;  Hamlet,  ii.  2.  Herod, 
Henry  V.,  Hi.  3 ;  Hamlet,  Hi.  2 ;  Antony  and  Cleopatra,  i.  2 ;  Hi. 
3,  6  ;  iv.  6.  Dives  and  Lazarus,  Richard  II,  iv.  1 ;  I.  Henry  IV., 
Hi.  3 ;  iv.2 ;  Richard  HI,  iv.  3.    The  prodigal  son.  Two  Gentlemen 


36  INDEX  TO  SHAKSPERE'S  WORKS. 

of  Verona,  ii.  3  ;  Merry  Wives  of  Windsor,  iv.  5  ;  Comedy  of  Errors^ 
iv.  3 ;  As  You  Like  It,  i.  1;  I.  Henry  IV.,  iv.  2 ;  II.  Henry  IV.,  i, 
2.  The  legion  of  devils,  Mercliant  of  Venice,  i.  3 ;  Twelfth,  Night, 
Hi.  4.  The  house  divided  against  itself,  Richard  II.,  v.  5 ;  a  camel 
through  a  needle's  eye,  Richard  II.,  v.  5.  Judas,  Lovers  Labour's 
Lost,  V.  2 ;  As  You  Like  It,  Hi.  4>'  Richard  II.,  Hi.  2  ;  iv.  1 ;  III 
Henry  VI.,  v.  7.  Pilate,  Richard  II.,  iv.  1;  Richard  III,  i.  4. 
Barabbas,  3Ierchant  of  Venice,  iv.  1.  Golgotha,  Richard  II,  iv.  1 ; 
Macbeth,  i.  2.  The  keys  of  Saint  Peter,  Othello,  iv.  2.  Saint  Philip's 
daughters,  /.  Henry  VL,  i.  2.  Will  have  mercy  on  whom  he  will 
have  mercy,  Measure  for  3Ieasure,  i.  3.  Lead  into  temptation, 
Measure  for  Measure,  ii.  2.  Spirits  in  prison,  Measure  for  Measure, 
ii.  3.  Call  brothers  fools,  Merchant  of  Venice,  i.  1.  The  Nazarite, 
Merchant  of  Venice,  i.  3.  The  prayer  for  mercy.  Merchant  of  Venice, 
iv.  1.  He  that  feeds  the  ravens.  As  You  Like  It,  ii.  3.  So  holy  writ 
in  babes  hath  judgment  shc^wn,  etc..  All's  Well  that  Ends  Well,  ii.  1. 
The  canon  of  the  law,  etc..  King  John,  ii.  1,  an  allusion  to  the  second 
commandment.  The  leopard  change  his  spots,  Richard  II,  i.  1. 
Wisdom  cries,  I.  Henry  IV.,  i.  2.  Return  to  vomit,  //.  Henry  IV., 
i.  3  ;  Henry  V.,  Hi.  7.  Book  of  Numbers  quoted,  Henry  V.,  i.  2. 
Demon  with  lion  gait,  Henry  V.,  ii.  2.  Another  fall  of  man,  Henry 
v.,  ii.  2.  Wolf  in  sheep's  clothing,  I.  Henry  VL,  i.  3.  '■''Medice  te," 
etc.,  II.  Henry  VL,  ii.  1.  Prayer  for  enemies,  Richard  III,  i.  3. 
As  snow  in  harvest,  Richard  HI,  i.  4..  Woe  to  that  land,  etc., 
Richard  III,  ii.  3.  Of  better  luck  than  your  master,  Henry  VIII., 
V.  1.    The  hill  of  Basan,  Antony  and  Cleopatra,  Hi.  11  or  13. 

Biggin,  II.  Henry  IV.,  iv.  4.   A  head-band  or  cap  of  coarse  linen. 

Bigot,  Robert  (correctly  Roger),  second  Earl  of  Norfolk,  a  char- 
acter in  King  John,  introduced  in  iv.  3.  He  was  one  of  the  twenty- 
five  barons  opposed  to  the  king.    See  Norfolk. 

Bilbo  (sword).  Merry  Wives  of  Wiiidsor,  i.  1;  Hi.  5.  Fine 
swords  were  made  at  BUboa  in  Spain. 

Billiards,  Antony  and  Cleopatra,  ii.  5.  An  anachronism,  as  it 
is  a  modern  game. 

Bills,  on  their  necks,  As  You  Like  It,  ii.  1.  Alluding  to  the 
weapon  called  a  bill. 

Biondello,  one  of  the  servants  of  Lucentio  in  Taming  of  the 
Shrew,  introduced  in  i.  1. 

Birds,  singing  of,  dependent  on  the  listener.  Merchant  of  Venice, 
V.  i.  The  ousel,  throstle,  wi-en,  etc..  A  Midsummer-Night's  Bream, 
Hi.  1,  song.     For  other  references,  see  under  names  of  species. 


INDEX  TO  SHAKSPERE'S   WORKS,  37 

Birnam.  Wood,  prophecy  conceniing,  3Iacbet/i,  ilk  1;  its  fulfil- 
ment, V.  4,  5. 

Biron  or  Birone.     See  Berowne. 

Birth,  crying  at,  King  Lear,  iv.  6. 

Birth.     See  Blood  and  Rank. 

Bis  coctus  (twice  cooked),  Love's  Labour's  Lost,  iv,  2. 

Bisson  (blinding),  Hamlet,  ii.  2  ;  Coriolanus,  ii.  1 ;  Hi.  L 

Blackbird,  the.    See  Ousel. 

Black-Friars,  London,  scene  of  Henry  VIII.,  ii.  4- 

Blackheath,  in  Kent,  six  miles  southeast  of  London,  scene  of 
77.  Henry  VI.,  iv,  2  and  S. 

Black  Monday,  Jlerchant  of  Venice,  ii.  5.  Easter  Monday,  so 
called  from  the  violent  storm  of  wind,  hail,  and  lightning,  April  14, 
1360,  to  which  King  Edward  III.,  with  his  army,  was  exposed  on 
that  day,  near  Chartres  in  France. 

Blanch  of  Spain,  daughter  of  Alphonso,  King  of  Castile,  and 
niece  of  King  John,  appears  in  King  John,  ii.  1. 

Blasphemy,  in  the  lowly  and  in  the  great,  Pleasure  for  Pleasure, 
ii.  2 ;  Sebastian  called,  Tlie  Tempest,  v.  h 

Blench  (move).  Measure  for  Measure,  iv.  5. 

Blessedness,  single,  A  Midsummer-Niglif s  Dream,  i.  1. 

Blessings,  invoked.  The  Tempest,  v.  1 ;  Two  Gentlemen  of  Ve- 
rona, i.  1 ;  Twelfth  Night,  Hi.  1 ;  Richard  III,  ii.  2 ;  Coriolanus, 
i.  5;  Othello,  ii.  1. 

Blind  man,  a  pretended,  //.  Henry  VI.,  ii.  1. 

Blindness,  the  best  use  of  one's  eyes,  to  see  the  way  of,  Cymhe- 
line,  V.  4- 

Blindworm,  A  Midsummer-Nighf s  Dream,  ii.  2;  Machetli, 
iv.  1.  A  little  snake  with  very  small  eyes,  supposed  to  be  very 
venomous. 

Blood,  swooning  at  sight  of.  As  You  Like  It,  iv.  3 ;  drunk  by  the 
earth,  /.  Henry  IV.,  i.  1 ;  stains  of,  Macbeth,  ii.  2  ;  v.  1 ;  will  have 
blood — "I  am  stept  in  so  far,"  Macbeth,  Hi.  4;  circulation  of  the. 
Measure  for  Pleasure,  ii.  4  ;  King  John,  Hi.  3  ;  II.  Henry  IV.,  v. 
2  ;  II.  Henry  VI.,  Hi.  2 ;  Coriolanus,  i.  1 ;  Romeo  and  Juliet,  iv.  1 ; 
Julius  Cmsar,  ii.  1;  Macbeth,  ii.  2;  Hamlet,  i.  5;  Othello,  iv.  2 : 
Lucrece,  I.  1747. 

Blood  (in  the  sense  of  ancestry),  claims  of,  As  You  Like  It,  i.  1 ; 
distinctions  of,  AlVs  Well  that  Ends  Well,  H.  3  ;  no  sure  foundation 
of.  King  John,  iv.  2  ;  sacredness  of  royal,  Richard  II.,  i.  2  ;  conduct 
unworthy  royal,  I.  Henry  IV.,  Hi.  2 ;  weighed  against  learning  (a 


38  INDEX  TO  SHAKSPERE'S  WORKS. 

beggar's  l)ook),  Henry  VIII.,  L  i  ;  a  boil,  etc.,  in  my,  Kuig  Lear,  ii, 
4 ;  ties  of,  and  evidence  of  good,  Cymheline,  iv,  2,  4- 

Blood-boltered  (clotted),  Macbeth,  iv.  1, 

Blow,  blow,  thou  winter  wind — song.  As  You  Like  It,  ii.  7. 

Blue-caps  (Scotchmen,  so  called  from  their  blue  bonnets),  I. 
Henry  IV.,  ii.  4- 

Blunt,  Sir  James,  character  in  Richard  III.,  first  appears  in  v. 
2,  a  partisan  of  Richmond.  He  was  a  great-grandson  of  the  Sir  Wal- 
ter Blunt  in  I.  Henry  IV. 

Blunt,  Sir  Thomas,  mentioned  in  Richard  II.,  v.  6,  as  having 
been  executed. 

Blunt,  Sir  Walter,  character  in  I.  Henry  IV.,  introduced  in  i.  1, 
where  the  king  calls  him  "  a  dear,  a  true  industrious  friend."  In  the 
battle  of  Shrewsbury,  act  v.,  scene  3,  he  is  dressed  in  one  of  the  king's 
coats,  and  Douglas,  mistaking  him  for  the  king,  kills  him.  His  son, 
Sir  John  Blunt,  is  mentioned  in  the  next  play,  iv.  3. 

Bluntness,  Julius  Ccesar,  Hi.  2,  "  I  have  neither  wit,"  etc. ;  King 
Lear,  ii.  2. 

Blushes,  Much,  Ado  about  Nothing,  iv.  1 ;  AlVs  Well  that  Ends 
Well,  ii.  3 ;  Lucrece,  I.  59. 

Boar,  the  (Richard  HI.,  whose  device  was  a  boar),  Richard  III., 
Hi.  2  ;  of  Thessaly,  Antony  and  Cleopatra,  v.  2  ;  iv.  13  ;  hunting  the 
wild,  Venus  and  Adonis,  lines  6 14-,  1105. 

Boar's  Head  Tavern.     See  Eastcheap. 

Boasters.     See  Braggarts. 

Boasting,  Merry  Wives  of  Windsor,  ii.  3  ;  As  You  Like  It,  i.  2  ; 
King  John,  ii.  1;  ii.  2  ;  Henry  V.,  Hi.  7 ;  iv.  3,  4;  foolish,  Lucrece, 
1.33. 

Boatswain,  a,  character  in  The  Tempest,  i.  1. 

Bobbed  (got  by  cheating),  Otliello,  v.  1. 

Bocchus,  King  of  Lydia,  Antony  and  Cleopatra,  Hi.  6. 

Bodies,  our,  our  gardens,  Othello,  i.  3,  lago ;  over-care  of,  Son- 
net cxlvi. 

Bohemia,  scene  of  part  of  A  Wintei^'s  Tale. 

Bohun,  Edward,  Henry  VIII.,  ii.  1.  See  Buckingham,  Edward 
Stafford,  Duke  of. 

Boldness,  in  a  subject,  I.  Henry  IV.,  i.  3. 

Boleyn  (or  BuUen),  Anne,  maid  of  honour  to  Queen  Katherine 
and  afterward  queen,  a  character  in  Henry  VIII.,  introduced  in  ^. 
4,  where  she  dances  with  the  king,  an  incident  that  took  place  at  a 
banquet  given  by  the  king  in  1527  to  ambassadors  from  Francis  I. 


INDEX  TO  SHAKSPERE\S  WORKS  39 

She  would  not  be  a  queen,  ii.  3  ;  made  a  marchioness,  ii.  3  ;  mar- 
ried, Hi.  2.  This  was  January  25,  1533,  or,  according  to  some  writ- 
ers, November  14,  1533.  In  Hi.  2,  Suffolk  says,  "I  persuade  me, 
from  her  will  fall  some  blessing  to  this  land,  which  shall  in  it  be 
memorized,"  a  reference  to  her  daughter  Elizabeth.  In  the  same 
scene,  Wolsey  speaks  of  her  as  the  weight  that  pulled  him  down,  he 
having  planned  that  the  king  should  marry  the  sister  of  the  King  of 
France  after  being  divorced  from  Katherine.  Anne's  coronation  and 
beauty,  iv.  1 ;  the  birth  of  Elizabeth,  v.  1.  Anne  was  beheaded  in 
1536. 

"  With  what  a  delicate  and  yet  luxuriant  grace  is  she  sketched 
off,  with  her  gaiety  and  her  beauty,  her  levity,  her  extreme  mobility, 
her  sweetness  of  disposition,  her  "tenderness  of  heart,  and,  in  short, 
all  lier  femalities !  How  characteristic  that  she  should  first  express 
unbounded  pity  for  her  mistress,  insisting  chiefly  on  her  fall  from 
her  regal  state  and  worldly  pomp,  thus  betraying  her  own  disposi- 
tion ! " — Mrs.  Jameson, 

Bolingbroke,  Henry  of,  Duke  of  Hereford,  and  afterward  Henry 
IV.     See  Henry  IV. 

Bolingbroke,  Roger,  a  conjuror  in  //.  Henry  VI. ;  first  appears 
in  i.  4. 

Bolt,  the  fool's.     See  Proverbs. 

Bolting-hutch,  /.  Henry  IV.,  ii.  4.    A  bm  where  meal  is  bolted. 

Bombast  (cotton  used  for  wadding  garments).  Love's  Labour's 
Lost,  V.  2  ;  I.  Henry  IV.,  ii.  4. 

Bombard,  (a  leather  drinking-vessel),  I.  Henry  IV.,  ii.  4  /  Henry 
VIIL,  V.  4. 

Bona,  Lady,  the  Princess  Bonne  of  Savoy,  a  sister  of  the  French 
queen,  character  in  III.  Henry  VI.,  introduced  in  Hi.  3.  In  ii.  6, 
Warwick  proposes  to  ask  her  in  marriage  for  Edward,  which  he  does 
in  Hi.  3,  just  before  the  news  of  Edward's  marriage  with  the  Lady 
Grey  is  announced  by  post.  Edward's  treatment  of  her  is  used 
against  his  heir  by  Richard  in  Richard  III.,  Hi.  7.  The  story  of 
Edward's  suit  to  her  is  not  well  authenticated. 

Bona-robas  (courtesans),  //.  Henry  IV.,  Hi.  2. 

Bona  terra,  etc.,  II.  Henry  VI.,  iv.  7.     Good  land,  bad  people. 

Bond(s),  his  words  are.  Two  Gentlemen  of  Verona,  ii.  7 ;  for  a 
pound*  of  flesh,  a.  Merchant  of  Venice,  Hi.  2,  3,  5  ;  iv.  1 ;  of  heaven, 
Troilus  and  Cressida,  v.  2  ;  of  life,  the,  Macbeth,  Hi.  2. 

Bondage,  is  hoarse,  Romeo  and  Juliet,  H.  2 ;  deliverance  from, 
Jzuius  (kesar,  i.  3  ;  &  way  to  liberty,  Cymheline,  v.  ^ 

Bonfire,  the  everlasting,  Macbeth,  ii.  3. 


40  INDEX  TO  SHAKSPERE'S  WORKS, 

Book,  of  songs  and  sonnets,  Merry  Wives  of  Windsor,  i,  1 ;  quar- 
relling by,  As  You  Like  It,  v.  Jf. ;  advice  for  a,  Sonnet  Ixvii. 

Book  (magic).  The  Tempest,  v.  L 

Book  (learning),  //.  Henry  VI,  iv.  7 ;  Henry  VIIL,  i.  1. 

Book  (writing  on  a  tablet),  Cymheline,  v.  4. 

Book-knowledge,  ridiculed  in  Armado,  in  Love's  Labour's 
Lost. 

Book  of  Life,  the,  Richard  II,  i.  3. 

Books,  women  are  the,  Love's  Labour's  Lost,  iv.  3,  near  the  end ; 
in  brooks.  As  You  Like  It,  ii.  1 ;  of  our  forefathers,  II  Henry  FX, 
iv.  7 ;  binding  of,  Romeo  and  Juliet,  i.  3 ;  Hi.  2 ;  love  in,  Sonnet 
xxiii. 

Books  (favour),  in  one's,  3Iuch  Ado  about  Nothing,  i.  L 

Boot  (advantage),  I.  Henry  YI,  iv.  6. 

Borachio,  the  villainous  follower  of  Don  John  in  3Iuch  Ado 
about  Nothing,  who  invents  the  plot  against  Hero  and  acts  the  part 
of  her  pretended  lover ;  first  appears  in  i.  3. 

Bore,  a,  /.  Henry  IV.,  Hi.  1,  "  0  he's  as  tedious,"  etc. ;  Venus 
and  Adonis,  I.  84S. 

Boreas  (the  north  wind),  Troilus  and  Cressida,  i.  3. 

Bores  (stabs),  Henry  VIII,  i.  1. 

Borough,  the  head  (in  some  modern  editions  the  third).  Verges 
in  3Iuch  Ado  ahout  Nothing.  The  former  was  an  officer  of  the  bor- 
ough ;  the  third  borough  was  a  constable. 

Borrowing,  dulls  husbandry,  Hamlet,  i.  3. 

Bosworth  Field,  battle  of,  August  22, 1485.  This  battle,  where 
Richmond,  afterward  Henry  VII.,  defeated  Richard  III.,  was  the 
last  of  the  Wars  of  the  Roses.  The  field,  or  moor,  is  in  Leicester- 
shire.    It  is  the  scene  of  Richard  HI,  v.  3,  4- 

Botcher  (cobbler),  AlVs  Well  that  Ends  Well,  iv.  3. 

Bottle  (bundle),  of  hay,  Jlidsummer-Nighfs  Dream,  iv.  1. 

Bottom  (spool,  shuttle),  of  thread,  Two  Gentlemen  of  Verona,  Hi. 
2  ;  Taming  of  the  Shrew,  iv.  3. 

Bottom,  Nick,  a  weaver,  character  in  A  Jlidsummer-Nighfs 
Dream,  introduced  in  i.  2.  In  the  play  before  the  duke  he  takes  the 
part  of  Pyramus. 

"Bottom,  in  his  broad-blown  self-importance,  his  all  but  impene- 
trable self-satisfaction,  stands  a  head  and  slioulders  higher  in  ab- 
surdity than  any  other  comic  personage  in  Sliakspere's  early  plays. 
He  is  the  admitted  king  of  his  company,  the  cock  of  his  walk,  and 
he  has  a  consciousness  that  his  gifts  are  more  than  equal  to  his  op- 
portunities."— DOWDEN. 


INDEX   TO  SHAKSPERE'S  WORKS.  41 

Bouciqualt,  mentioned,  Henry  V.,  in.  5 ;  iv.  8, 

Boult,  a  servant,  in  Pericles ;  first  appears  in  iv.  3. 

Bounds.     See  Limits. 

Bounty,  should  have  eyes  behind,  Timon  of  Athens,  i.  2  ;  mars 
men,  Timon  of  Athens,  iv.  2 ;  that  begs  to  be  asked,  Antony  and 
Cleopatra,  Hi.  11 ;  no  winter  in,  Antony  and  Cleopatra,  v.  2. 

Bourbon,  John,  Duke  of,  character  in  Henry  V. ;  first  appears  in 
Hi.  5,  where  he  talks  vaingloriously  of  the  easy  conquest  that  will 
be  made  of  the  English. 

Bourbon,  Lord  High  Admiral,  addressed  in  III.  Henry  VI.,  Hi. 
3.     He  was  a  grandson  of  the  preceding. 

Bourchier,  Thomas,  Archbishop  of  Canterbury  and  Cardinal, 
character  in  Richard  III.,  first  appears  in  Hi.  1.  His  mother  was  a 
daughter  of  the  Duchess  of  Gloucester  in  Richard  II.  He  had  taken 
sides  with  the  Yorkists,  and  crowned  Edward  IV.,  Richard  IIL,  and 
Henry  VII.  (Richmond). 

Bourdeaux,  scene  of  /.  Henry  VI.,  iv.  2,  5. 

Bourn  (burn,  rivulet,  or  boundary),  Troilus  and  Cressida,  H.  3  ; 
this  chalky.  King  Lear,  iv.  6  ;  of  the  undiscovered  country,  HamUi, 
Hi.  1. 

Bowling,  allusions  to.  Taming  of  the  Shrew,  iv.  5  ;  Richard  II., 
Hi.  4;  Coriolanus,  v.  H ;  rub  on,  etc.,  Troilus  and  Cressida,  Hi.  2  ; 
kissed  the  jack,  Cymheline,  H.  1. 

Bow,  the,  is  bent  and  drawn.  King  Lear,  i.  1. 

Boyet,  a  lord  attending  on  the  Princess  of  France  in  Lovers  La- 
bour's Lost,  an  accomplished  courtier  wittily  described  by  Berowne 
(Biron)  in  act  v.,  scene  2.     He  first  appears  in  ii.  1. 

Boy(s),  the  whining  schoolboy.  As  You  Lilie  It,  ii.  7 ;  life  and 
ideas  of,  A  Winter's  Tale,  i.  2 ;  demureness  in,  II.  Henry  VI.,  ii.  3  ; 
a  bright,  Richard  IIL,  Hi.  1 ;  unrespective,  Richard  IIL,  iv.  2 ; 
sacrifice  to  present  pleasure,  Antony  and  Cleopatra,  i.  4. 

Brabant,  Duke  of,  mentioned,  Henry  V.,  Hi.  5 ;  iv.  8. 

Brabantio,  a  Venetian  senator,  character  in  Othello,  introduced 
in  i.  1,  the  father  of  Desdemona.     His  death,  v.  2. 

Brach.  (a  hound),  Taming  of  the  Shrew,  Induction  i. 

Bracy,  Sir  John,  mentioned  in  I.  Henry  IV.,  ii.  4. 

Braggarts,  Much  Ado  about  Nothing,  v.  1;  Two  Gentlemen  of 
Verona,  ii.  4  ;  All's  Well  that  Ends  Well,  ParoUes  in,  iv.  <?,  etc. ; 
tediousness  of,  /.  Henry  IV.,  Hi.  1;  I  cannot  choose,  etc.,  J?omeo 
and  Juliet,  ii.  0 ;  They  are  but'  beggars,  etc, ;  wear  their  daggers 
in  their  mouth,  Cymheline,  iv,  2, 


42  INDEX  TO  SHAKSPERE'S  WORKS, 

Braid  (<leceitfiil),  All's  Well  that  Ends  Well,  iv.  2. 

Brains,  boiled,  The  Tempest,  v.  1 ;  dry,  As  You  Like  It,  ii.  7  ,- 
idle  comments  of — dwelling  of  the  soul.  King  John,  v.  7 ;  when 
the  brains  were  out,  the  man  would  die,  Macbeth,  Hi.  4  ;  diminution 
of,  restores  heart,  or  courage,  Antony  and  Gleopatra,  Hi.  11  or  13, 
end ;  forgeries  of  the,  Lucrece,  I.  IfiO.     See  Ventricle  of  Memory. 

Brakenbury,  Sir  Robert,  Lieutenant  of  the  Tower,  character  in 
Richard  III. ;  first  appears  in  i.  1 ;  his  death,  v.  5. 

Brakes  (thickets),  of  vice,  Measure  for  Pleasure,  ii.  1. 

Brandon,  Sir  William,  character  in  Richard  III,  first  appears 
in  V.  3,  in  Richmond's  army.     He  fell  at  Bosworth,  v.  5. 

Brandon,  character  in  Henry  VIII,  introduced  in  i.  1.  The 
Duke  of  Buckingham  was  arrested  by  one  Sir  Henry  Marney. 

Brave,  address  to  the,  Coriolanus,  i.  6,  "  Those  are  they,"  etc. 

Bravery,  of  the  princes,  I.  Henry  IV.,  v.  4;  of  Talbot  and  his 
son,  I  Henry  VI.,  iv.  5 ;  in  war,  Coriolanus,  i.  4,  5 ;  ii.  2 ;  Cymhe- 
line,  V.  3  ;  of  Posthumus,  Cyinbeline,  v.  5. 

Bravery  (fine  apparel),  Taming  of  the  Shrew,  iv.  3, 

Brawl  (a  dance).  Love's  Labour's  Lost,  Hi.  1, 

Brawl,  a,  Othello,  ii.  3. 

Brazier,  a,  Henry  VIII.,  v.  4. 

Breach,  once  more  unto  the,  Henry  V.,  Hi.  1, 

Breast  (voice).  Twelfth  Night,  H.  3. 

Brecknock,  Richard  III.,  iv.  2.  Buckingham's  castle  in  South 
Wales,  built  in  the  time  of  the  Conqueror,  destroyed  during  the 
Civil  War.     The  keep  is  still  standing. 

Breeches,  Two  Gentlemen  of  Verona,  H.  7. 

Breeching  scholar.  Taming  of  the  Shreiv,  Hi.  1.  To  breech 
was  an  old  term  meaning  to  whip,  used  in  3Ierry  Wives  of  Witidsor, 
iv.  1,  "  You  must  be  breeched."  A  breeching  scholar  was  a  boy  sub- 
ject to  whipping. 

Breeding,  of  Orlando,  As  You  Like  It,  i,  1. 

Breese,  or  brize,  Antony  and  Cleopatra,  Hi.  8-10.    The  gad- 

fly- 
Brentford,  fat  woman,  or  witch  of.  Merry  Wives  of  Windsor,  iv, 
2,  5.     Supposed  to  be  a  well-known  personage  of  Shakspere's  day, 
named  Gillian, 

Bretagne,  John  de  Montfort,  Duke  of,  mentioned  in  Richard 
II,  H.  1,  as  furnishing  Bolingbroke  with  ships.     Henry  IV.  after- 
ward married  his  widow,  Joan  of  Navarre. 
Bretagnes,  Richard  III.^  v,  3» 


INDEX  TO  SIIAKSFERE'S  WORKS,  43 

Brevity,  of  fair  things,  Midsummer-Night's  Dream,  i.  1 ;  the 
soul  of  wit,  Hamlet,  ii.  2. 

Brewer's  Horse,  a,  I.  Henry  IV.,  Hi.  3.  He  carried  the  liquor 
on  his  back. 

Bribery,  attempt  at,  Merry  Wives  of  Windsor,  iv.  6 ;  openness 
to,  AlVs  Well  that  Ends  Well,  iv.  3;  used,  IL  Henry  IV.,  Hi.  2 ; 
contempt  for,  Julius  Ccesar,  iv.  3 ;  defeats  justice,  Hamlet,  Hi.  3, 
speech  of  the  king;  Cymheline,  ii.  3 ;  Hi.  3. 

Bribe-Buck  (a  stolen  one).  Merry  Wives  of  Windsor,  v.  5. 

Bridegroom,  dress  of  a,  Taming  of  the  Shrew,  Hi.  2. 

Bridewell,  palace  at,  scene  of  Henry  VIII.,  Hi.  1,  2. 

Bridge,  what  need  the,  much  broader  than  the  flood,  Much  Ado 
about  Nothing,  i.  1. 

Bridge,  defence  of  the,  Henry  V.,  Hi.  6.  Over  the  Ternois,  at 
Blangi.  The  French  tried  to  break  it  down,  but  the  English  seized 
and  held  it  till  the  army  passed  over  on  the  way  to  Calais. 

Bridget,  Mistress,  alluded  to,  Merry  Wives  of  Windsor,  H.  2. 

Bridgnorth,  in  Salopshire,  twenty  miles  from  Shrewsbury,  forces 
to  meet  at,  I.  Henry  IV.,  Hi.  2,  end. 

Brief  (betrothal),  AlVs  Well  that  Ends  Well,  ii.  3. 

Brief  (inventory),  Antony  and  Cleopatra,  v.  2. 

Briers,  world  full  of.  As  You  Like  It,  i.  3. 

Bring  in  (call  to  the  tapster),  /.  Henry  IV.,  i.  2. 

Britain,  scene  of  part  of  Cymleline  ;  its  natural  strength,  Cym- 
beline,  Hi.  1 ;  a  swan's  nest,  Oyinbeline,  Hi.  4.    See  England. 

British,  bravery  of  the,  Cymheline,  ii.  4- 

Brocas,  Sir  Bernard,  mentioned  in  Richard  IL,  v.  6,  as  having 
been  beheaded  for  adherence  to  Richard. 

Broker,  a  crafty  knave,  II.  Henry  VI.,  i.  2, 

Brooding,  on  what's  done,  MachetJi,  Hi.  2. 

Brook,  or  Broom,  name  by  which  Ford  gets  himself  introduced 
to  Falstaff,  Merry  Wives  of  Windsor,  ii.  2. 

Brooks,  books  in  the  running.  As  You  Like  It,  ii.  1. 

Broom.     See  Brook. 

Brothers,  fight  between.  As  You  Like  It,  i.  1 ;  duty  to  avenge 
the  death  of,  Richard  IL,  i.  2. 

Brownist,  a  (one  of  a  sect  of  Puritans),  Twelfth  Night,  Hi.  2. 

Bruit  (report),  III.  Henry  VI.,  iv.  7. 

Brunette,  a,  Sonnets  cxxvii.,  cxxx.,  cxxxi.,  cxxxH.,  cxlviii. 

Brutus,  Junius,  a  tribune  of  the  people,  character  in  Coriolanus. 
mtroduced  in  i.  1 ;  Menenius  on,  ii.  1.    See  Sicixius. 


44  INDEX  TO  SHAKSPERE'S  WORKS. 

Brutus,  there  was  a,  once,  Julius  Ccesar,  i.  2.  Lucius  Junius 
Brutus,  prominent  in  the  expulsion  of  the  Tarquins  and  in  turning 
the  kingdom  into  a  republic.  When  consul  afterward,  he  con- 
demned his  sons  to  death  for  an  attempt  to  restore  the  kingdom. 
He  is  again  alluded  to  in  ii.  1,  "  My  ancestors  did  from  the  streets 
of  Rome,"  in  the  argument  to  Lucrece,  and  at  lines  1734.,  1807. 

Brutus,  Marcus  Junius,  the  most  important  character  in  the 
play  Julius  Ccesar;  first  appears  in  i.  2,  talking  with  Cassius  of  the 
danger  to  the  republic  from  Caesar ;  his  struggles,  ii.  1 ;  regretful 
thoughts  of,  ii.  2,  end  ;  the  assassination.  Hi.  1 ;  justifies  it,  Hi.  1 ; 
his  speech,  Hi.  2 ;  his  love  of  books  and  music,  iv.  3  ;  sees  Caesar's 
ghost,  iv.  3 ;  on  self-murder,  v.  1 ;  farewell  to  Cassius,  v.  1 ;  his 
death,  v.  5. 

"  I  do  not  at  present  see  into  Shakspere's  motive,  his  rationale,  or 
in  what  point  of  view  he  meant  Brutus's  character  to  appear.  .  ,  . 
Surely,  nothing  can  seem  more  discordant  with  our  historical  precon- 
ceptions of  Brutus,  or  more  lowering  to  the  intellect  of  the  Stoico- 
Platonic  tyrannicide,  than  the  tenets  here  attributed  to  him — to  him, 
the  stern  Roman  republican — namely,  that  he  would  have  no  objection 
to  a  king,  or  to  Csesar,  monarch  in  Rome,  would  Caesar  but  be  as  good 
a  monarch  as  he  now  seems  disposed  to  be  !  How,  too,  could  Brutus 
say  that  he  found  no  personal  cause — none  in  Caesar's  past  conduct 
as  a  man  %  Had  he  not  passed  the  Rubicon  f  Had  he  not  entered 
Rome  as  a  conqueror  ?  Had  he  not  placed  his  Gauls  in  the  Senate  f 
.  .  .  What  character  did  Shakspere  mean  his  Brutus  to  be?" — 
Coleridge. 

Brutus  "  acts  as  an  idealist  and  theorizer  might,  with  no  eye  for 
the  actual  bearing  of  facts,  and  no  sense  of  the  true  importance  of 
persons.  Intellectual  doctrines  and  moral  ideas  rule  the  life  of 
Brutus ;  and  his  life  is  most  noble,  high,  and  stainless,  but  his  pub- 
lic action  is  a  series  of  practical  mistakes.  Yet,  even  while  he  errs, 
we  admire  him,  for  all  his  errors  are  those  of  a  pure  and  lofty  spirit. 
He  fails  to  see  how  full  of  power  Antony  is,  because  Antony  loves 
pleasure,  and  is  not  a  Stoic  like  himself ;  he  addresses  calm  argu- 
ments to  the  excited  Roman  mob ;  he  spares  the  life  of  Antony,  and 
allows  him  to  address  the  people ;  he  advises  ill  in  military  matters. 
All  the  practical  gifts,  msight,  and  tact  which  Brutus  lacks  are  pos- 
sessed by  Cassius  ;  but  of  Brutus's  moral  purity,  veneration  of  ideals, 
disinterestedness,  and  freedom  from  unworthy  personal  motive,  Cas- 
sius possesses  little.  And  the  moral  power  of  Brutus  has  in  it 
something  magisterial,  which  enables  it  to  oversway  the  practical 
judgment  of  Cassius." — Dowden. 

He  is  spoken  of  in  II.  Henry  F/.,  iv,  1 ;  in  Antony  and  Cleopatra, 
ii.  6,  Pompey  speaks  of  his  motive ;  and  in  Hi.  9  or  11,  Antony  calls 
him  the  mad  Brutus. 

Bubbles,  the  earth  hath,  Macbeth,  i.  3,  ^ 


INDEX  TO  SHAKSPERE'S   WORKS.  45 

Bubukles  (pimples),  Henry  V.,  in.  6. 

Buckingham,  Edward  Stafford,  Duke  of.  He  calls  himself 
Edward  Bohun  {ii.  1),  as  he  was  descended  from  the  Bohuns,  and 
from  them  inherited  his  office  of  constable,  an  office  forfeited  at  his 
death,  and  never  again  revived  in  England.  A  character  in  Henry 
VIII.,  introduced  in  the  first  scene,  where  he  is  arrested  for  treason. 
His  surveyor's  testimony  against  him  is  given  in  i.  2,  where  the  king 
admits  his  learning  and  eloquence.  He  is  condemned  in  ii.  1,  and 
speaks  to  the  people.  He  was  accused  of  aspiring  to  the  throne,  and 
was  executed  in  1521.  The  Buckingham  of  Richard  III.  was  his 
father. 

Buckingham,  Henry  Stafford,  Duke  of,  character  in  Richard 
III,  first  appears  in  i.  3.  He  was  one  of  Richard's  most  powerful 
friends  ;  in  Hi.  7,  he  tries  to  make  the  people  declare  him  king,  and 
offers  him  the  crown.  But  he  became  disaffected  because  Richard 
would  not  grant  him  the  earldom  of  Hereford,  to  which  he  had  a 
claim,  iv.  2,  and  joined  in  the  conspiracy  to  place  Richmond  on  the 
throne.  He  headed  an  insurrection  in  Wales,  iv.  3 ;  but  his  army 
was  broken  up  by  sudden  floods,  and  deserted.  He  fled,  but  was 
taken,  iv.  4,  and  executed  at  Salisbury,  v.  1.  His  ghost  appears  to 
Richard,  v.  3.  He  was  a  grandson  of  the  Buckingham  of  //.  Henry 
VI.,  and  son  of  Sir  Humphrey  Stafford. 

Buckingham,  Humphrey  Stafford,  Duke  of,  character  in  II. 
Henry  VI ;  first  appears  in  i.  1.  He  is  on  the  side  of  the  king.  In 
///.  Henry  VI.,  i.  1,  Edward,  Earl  of  March,  boasts  of  having 
wounded  him  at  St.  Alban's,  where  his  son,  Lord  Stafford,  was  slain. 
He  fell  at  the  battle  of  Northampton  in  1460.  He  was  the  son  of 
the  Lord  Stafford  mentioned  in  /.  Henry  IV,  v.  3,  as  having  been 
slain  for  the  king,  and  the  Buckingham  of  Richard  HI.  was  his 
grandson,  son  of  the  Lord  Stafford  who  fell  at  St.  Alban's. 

Buckle  (bend),  II.  Henry  IV,  i.  1. 

Bucklers,  give  the  (surrender),  3Iuch  Ado  about  Nothing,  v.  2. 

Bucklersbury,  a  place  in  the  outskirts  of  London  where  herbs 
and  drugs  were  sold,  Merry  Wives  of  Windsor,  Hi.  3. 

Buckram,  cases  of  (oversuits),  /.  Henry  IV,  i.  2. 

Buckram  Scene,  the,  /.  Henry  IV,  ii.  4.. 

Bucks  (household  washing),  //.  Henry  VI,  iv.  2 ;  buck-basket, 
Merry  Wives  of  Windsor,  Hi.  5. 

Bug  (bugbear),  Taming  of  the  Shrew,  i.  2,  and  elsewliere ;  War- 
wick was  the  bug  that  feared  us  all,  ///.  Henry  VI.,  v.  2. 

Builder,  the  strongest,  Hamlet,  v.  1. 
4 


iQ  INDEX  TO  SHAKSPERE'S   WORKS. 

Bulks  (projecting  show-windows  or  outside  stalls),  Coriolanus^ 
a.  1;  Othello,  v.  1. 

Bull,  the  savage,  etc..  Much  Ado  about  Nothing,  i.  1 ;  line  from 
"The  Spanish  Tragedy,"  by  Thomas  Kyd,  printed  in  1603,  but 
played  before  that  time.  It  was  much  ridiculed  by  Kyd's  contem- 
poraries. 

Bull-Baiting,  allusions  to,  Troilus  and  Cressida,  v.  8 ;  v.  7, 
"  Now  bull,  now  dog ! " 

BuUcalf,  one  of  the  recruits  in  //.  Henry  IV.,  appears  in 
in.  2. 

Bullets,  paper.  Much  Ado  about  Nothing,  ii.  3  ;  leaden  messen- 
gers, AlTs  Well  that  Ends  Well,  Hi.  2. 

Bully  Monster,  The  Tempest,  v.  1. 

Bully  Rook  (a  bold,  bluff,  rollicking  fellow).  Merry  Wives  of 
Windsor,  ii.  1. 

Bully  Stale,  Merry  Wives  of  Windsor,  ii.  3.  Bully  was  a  fa- 
vourite word  with  the  host  of  the  Garter. 

Bunch  of  Grapes,  the,  Pleasure  for  Measure,  ii.  1.  It  was  cus- 
tomary to  give  such  names  to  rooms  in  taverns.  See  Dolphin  Cham- 
ber, and  Jerusalem  Chamber. 

Bung  (cant  for  purse,  here  cutpurse),  //.  Henry  IV.,  ii.  4. 

Bunting,  took  this  lark  for  a,  All's  Well  that  Ends  Well,  ii.  3. 
A  bird  like  the  lark,  but  songless. 

Burgh,  Hubert  de.    See  Hubert  de  Burgh. 

Burgonet  (helmet),  IL  Henry  VI.,  v.  1 ;  Antony  and  Cleopatra, 
i.  5.    An  anachronism. 

Burgundy,  Duchess  of.  III.  Henry  VI.,  ii.  1.  She  was  third 
cousin  to  the  young  Plantagenets,  though  she  is  spoken  of  as  their 
"  kind  aunt." 

Burgundy,  Duke  of,  character  in  King  Lear,  appears  in  i.  1,  a 
suitor  for  Cordelia ;  but  he  withdraws  the  suit  when  she  is  disin- 
herited.    He  is  called  "  waterish  Burgundy." 

Burgundy,  Philip  the  Good,  Duke  of,  a  character  in  Henry  V., 
where  he  appears  in  the  last  scene,  and  in  Henry  VI.,  first  appearing 
in  ii.  1.  His  sister  was  married  to  Bedford,  and  he  was  in  alliance 
with  the  English  till  1435,  when  he  was  reconciled  to  the  Dauphin 
through  the  mediation  of  the  pope.  In  Hi.  3  he  is  represented  as 
won  over  by  Joan  of  Arc.  His  letter  to  Henry,  announcing  his 
change  of  alliance,  iv.  1. 

Burial,  Christian,  given  to  a  suicide,  Hamlet,  v.  1 ;  with  the  head 
to  the  east,  Cymbeline,  iv.  2. 


INDEX  TO  SHAKSPERE'S  WORKS.  47 

Burn,  burning  out  a,  Romeo  and  Juliet,  i.  2. 

Burs,  in  the  heart,  As  You  Like  It,  i.  3. 

Burton-Heath  (Barton-on-the-Heath),  in  Warwickshire,  Taming 
of  the  Shrew,  induction,  2. 

Bury  St.  Edmund's,  abbey  of,  in  Suffolk,  scene  of  II,  Henry 
VL,  i,  2. 

Bush,  the  thief  doth  fear  each,  ///.  Henry  VI.,  v.  1;  good  wine 
needs  no,  As  You  Like  It,  v.  4.  A  bush  of  ivy  was  used  at  a  vint- 
ner's door,  ivy  being  sacred  to  Bacchus. 

Bushy,  Sir  John,  a  character  in  Richard  II.,  introduced  in  i.  3. 
He  is  a  parasite  of  the  king's.  "  In  this  22  year  of  King  Richard  the 
common  fame  ran  that  the  King  had  letten  to  farm  the  realm  unto 
Sir  William  Scrope,  Earl  of  Wiltshire,  and  then  Treasurer  of  Eng- 
land, to  Sii'  John  Bushy,  Sir  John  Bagot,  and  Sir  Henry  Green, 
Knights."  In  the  play  only  the  Earl  of  Wiltshire  is  mentioned  as 
having  the  realm  in  farm. 

Business,  promptness  in  that,  which  we  love,  Antony  and  Cleo- 
patra, iv.  4. 

Butcher,  privilege  to  a,  II.  Henry  VI.,  iv.  3.  Referring  to  the 
practice  of  favouring  some  butchers  by  permits  to  kill  a  certain 
number  of  cattle  every  week  in  Lent. 

But  shall  I  go  mourn,  song,  A  Winter's  Tale,  iv.  3. 

Butter,  pitiful-hearted,  /.  Henry  IV.,  ii.  4. 

Butterfl.y(ies),  painted,  3Iidsummer  Nighfs  Dream,  Hi.  1 ;  your, 
was  a  grub,  Coriolanus,  v.  4. ;  show  not  their  mealy  wings  but  to  the 
summer,  Troilus  and  Cressida,  Hi.  3. 

Buttery-bar,  Twelfth  Night,  i.  3. 

Buttons,  'tis  in  his  (he  can  do  it),  Merry  Wives  of  Windsor,  Hi. 
1 ;  (buds)  Hamlet,  i.  3. 

Butts,  Sir  William,  the  king's  physician  in  Henry  VIIL,  intro- 
duced in  V.  2.  He  was  a  friend  of  Cranmer  and  adherent  of  the 
Protestant  cause. 

Butt-shaft  (arrow  to  be  shot  at  a  butt  or  mark).  Love's  Labour's 
Lost,  i.  2,  end. 

"  But  yet,"  dislike  for,  Antony  and  Cleopatra,  H.  5. 

By  (aby,  abide,  pay  for),  ///.  Henry  VL,  v.  L 

Cabin'd,  cribb'd,  eonfin'd,  Macbeth,  Hi.  4. 

Cacodaemon  (an  evil  spirit),  Richard  III,  i.  3. 

Caddises  (crewels  or  braid),  A  Winter's  Tale,  iv.  3  or  4. 

Cade,  Jack,  leader  of  Cade's  rebellion  in  1450,  who  called  himself 


48  INDEX  TO  SHAKSPERE'S  WORKS. 

Mortimer.  The  murder  of  Suffolk  at  Dover  was  followed  by  a  rumor 
that  the  king  would  take  vengeance  on  the  people  of  Kent,  and  this 
was  the  immediate  cause  of  the  insurrection,  though  under  the  king's 
weak  rule  there  were  real  grievances  to  be  redressed.  Cade  is  a  char- 
acter m  11.  Henry  VI.,  introduced  in  iv.  2.  History  says  nothing 
of  York's  agency  as  spoken  of  in  Hi.  1.  In  iv.  6,  he  takes  possession 
of  the  capital  by  striking  his  staff  on  London  stone  {q.  v.).  He  is 
killed  by  Iden,  iv.  10. 

Cadmus  (the  legendary  founder  of  Thebes,  who  introduced  the 
alphabet  into  Greece),  Midsummer-NigM 8  Dream,  iv.  1. 

Caduceus  (Mercury's  rod),  Troilus  and  Gressida,  ii.  3. 

Cadwal.     See  Arviragus. 

Cadwallader,  Henry  V.,  v.  1.    The  last  Welsh  king. 

Caesar,  Julius,  appears  first  in  the  second  scene  of  the  play  that 
bears  his  name ;  his  physical  feebleness  described  by  Cassius,  i.  2 ; 
his  fearlessness,  ii.  2 ;  his  refusal  of  the  suit  of  Metellus,  and  his 
death.  Hi.  1 ;  his  ghost,  iv.  3  ;  Octavius  promises  to  avenge  him,  v. 
1;  avenged,  v.  3,  "  Thy  spirit  walks  abroad,"  etc. 

"  The  character  of  Cgesar  is  conceived  in  a  curious  and  almost 
irritating  manner.  Shakspere  (as  passages  in  other  plays  show)  was 
certainly  not  ignorant  of  the  character  of  one  of  the  world's  great- 
est men.  But  here  it  is  his  weaknesses  that  are  insisted  on.  He  is 
failing  in  body  and  mind,  influenced  by  superstition,  yields  to  flat- 
tery, thinks  of  himself  as  almost  superhuman,  has  lost  some  of  his 
insight  into  character,  and  his  sureness  and  swiftness  of  action. 
Yet  the  play  is  rightly  named  Julius  CcBsar.  His  bodily  presence  is 
weak,  but  his  spirit  rules  throughout  the  play,  and  rises  after  death 
in  all  its  might,  towering  over  the  little  band  of  conspirators,  who  at 
length  fall  before  the  spirit  of  Cassar  as  it  ranges  for  revenge." — 

Do  WD  EN. 

Allusions  to  Cgesar :  The  hook-nosed  fellow,  II.  Henry  IV.,  iv. 
2 ;  quoted,  //.  Henry  VI.,  iv.  7 ;  began  the  Tower,  Richard  II..  v. 
1 ;  Richard  III,  Hi.  1.  He  did  not  build  any  part  of  it.  Ship  that 
bare,  I.  Henry  VI,  i.  2;  commentaries  of,  II.  Henry  VI,  iv.  7; 
they  that  stabbed,  111.  Henry  VI.,  v.  5  ;  Mark  Antony  and,  31acbeth, 
Hi.  1 ;  the  dust  of,  Hamlet,  v.  1;  Cleopatra's  praise  of,  Antony  and 
Cleopatra,  i.  5  ;  death  of,  Antony  and,  Cleopatra,  H.  6 ;  in  Britain, 
Cymbeline,  in.  1. 

Caesar,  Octavius  (Augustus),  who  was  triumvir  after  the  death  of 
Julius  Caesar,  is  introduced  in  iv.  1  of  Julius  Ccesar ;  at  Philippi,  v. 
1.  He  is  also  a  character  in  Antony  and  Cleopatra,  introduced  in 
i.  4.  His  fortune,  H.  3  ;  Lepidus's  praise  of,  travestied.  Hi,  2  ;  An- 
tony's complaint  of,  Hi.  Jf.;  laments  Antony's  death,  v.  1. 


INDEX  TO  SHAKSPERE'S   WORKS.  49 

In  Julius  Ca?sar,  Antony  "  was  placed  beside  a  man.  the  young 
Octavius,  who  even  then  treated  him,  the  elder  in  politics  and  war, 
with  haughtiness ;  in  whose  vicinity  his  genius  (that  is,  the  practi- 
cal, actively  disposed  part  of  his  genius)  felt  itself  oppressed,  and 
before  whom  his  courage,  his  nobility,  his  magnanimity  bowed,  al- 
though unwillingly.  An  inward  misgiving  warned  the  more  pro- 
found Julius  Ca?sar  against  Cassius  ;  it  needed  a  soothsayer  to  warn 
this  superficial  being  against  Octavius  [ii.  3].  .  .  .  Octavius  owes 
his  success  more  to  Antony's  luxuriousness.  idleness,  and  frenzy  than 
to  his  own  merits.  .  .  .  Where  [Antony]  is  genial  and  wanton,  Octa- 
vius is  full  of  petty  carefulness ;  where  the  one  idly,  voluptuously, 
and  madly  puts  off,  neglects,  and  forgets  every  public  duty,  the  other 
is  all  conscientiousness,  economy,  activity,  and  thoughtful  quickness, 
and  is  prompted  at  least  as  much  by  the  common  interests  of  the 
state  as  by  personal  ambition." — Gervixus. 

Caesars,  there  be  many  ere  such  another  Julius,  Cymbeline, 
ill.  1. 

Cage  (for  vagabonds  and  criminals),  II.  Henry  VI.,  iv.  2. 

Cain,  the  curse  of,  Hamlet,  Hi.  3,  "  The  primal  eldest."  See 
Bible. 

Cain-coloured  beard,  3Ierry  Wives  of  Windsor,  i.  4.  Cain 
was  represented  in  old  tapestry  with  a  yellow  beard.  Some  editors 
read  cane-coloured. 

Caithness,  a  thane  of  Scotland,  character  in  JIacbeth,  ap- 
pears in  V.  2.  Torfin,  the  son  of  Sigurd,  affected  to  be  independent 
Earl  of  Caithness  during  the  whole  reign  of  Duncan  and  of  Mac- 
beth. 

Caius,  Dr.,  character  in  the  Merry  Wives  of  Windsor,  first 
spoken  of  in  i.  1,  introduced  in  i.  4.  He  is  an  irascible  French  phy- 
sician, uses  amusing  English,  is  a  suitor  to  Anne  Page,  and  sends  a 
challenge  to  Parson  Evans,  i.  4. 

Caius,  kinsman  of  Titus,  in  Titus  Andronicus,  addressed  in  iv. 
3  and  v.  2. 

Caius,  name  assumed  by  Kent  in  King  Lear. 

Cake,  he  that  would  have  a,  Troilus  and  Cressida,  i.  1;  is 
dough.  Taming  of  the  Shrew,  i.  1;  v.  1. 

Cakes  and  ale.  Twelfth  Night,  ii.  3.  The  usual  entertainment 
on  holidays  and  saints'  days. 

Calamity,  sticking  together  in.  King  John,  Hi.  4;  prepared  for, 
Richard  II.,  Hi.  2 ;  full  of  words,  Richard  III,  iv.  4  ;  wedded  to, 
Romeo  and  Juliet,  Hi.  3. 

Calchas,  a  Trojan  priest  who  was  sent  by  Priam  to  consult  the 
oracle  at  Delphi  as  to  the  result  of  the  war.  Being  warned  not  to 
return,  as  Troy  was  to  be  destroyed,  he  took  part  with  the  Greeks, 


50  INDEX  TO  SHAKSPERE'S  WORKS. 

Cressida  was  his  daughter.  He  is  introduced  in  iii.  3  of  Troilui 
and  Cressida. 

Calendar(s),  of  nativity,  Comedy  of  Errors,  v.  1;  of  gentry, 
Hamlet,  v.  2. 

Caliban,  a  deformed  monster  in  Th.e  Tempest,  half-human,  half- 
demon,  whom  Prospero  has  made  his  slave. 

He  is  "all  earth,  all  condensed,  and  gross  in  feelings  and  images; 
he  has  the  dawnings  of  understanding  without  reason  or  the  moral 
sense,  and  in  him  as  in  some  brute  animals  this  advance  to  the  intel- 
lectual faculties,  without  the  moral  sense,  is  marked  by  the  appear- 
ance of  vice." — Coleridge. 

Calipolis,  feed  and  be  fat,  my  fail*,  //.  Henry  lY.,  ii.  4.  Trav- 
esty of  a  line  in  Peele's  "  Battle  of  Alcazar." 

Callat  (wanton),  J.  Wintefs  Tale,ii.3;  Othello,  iv.  3. 

Calpurnia,  Caesar's  wife,  first  appears  in  i.  2  of  Julius  Ccesar  ; 
h.er  dreams  and  fears,  ii.  2. 

Calumny,  none  can  escape,  Pleasure  for  Measure,  Hi.  2 ;  will 
sear  virtue  itself,  A  Wintefs  Tale,  ii.  1 ;  the  fate  of  place,  Henry 
VIIL,  i.  2 ;  not  to  be  escaped,  Hamlet,  Hi.  1.     See  also  Slander. 

Calydon  (a  city  of  ^tolia  in  Greece),  the  prince  in,  11.  Henry 
VI.,  i.  1.     Meleager.     See  Althea. 

Cambio,  name  assumed  by  Lucentio  in  Taming  of  the  Shreiv,  ii.  1. 

Cambridge,  Richard,  Earl  of,  character  in  Henry  V.  His  part 
in  the  conspiracy  to  kill  the  king  is  mentioned  in  the  prologue  to  the 
second  act.  In  the  second  scene  of  the  same  act  his  treachery  is  ex- 
posed and  he  is  ordered  to  execution.  He  was  son  of  Edmund  Lang- 
ley,  Duke  of  York,  and  brother  of  the  York  in  this  play.  He  is 
spoken  of  in  /.  Henry  VI.,  ii.  5,  in  connection  with  the  claim  of  the 
house  of  York  to  the  throne.  His  wife  was  the  sister  of  Mortimer ; 
and  the  Duke  of  York,  their  son  and  the  father  of  Edward  IV.  and 
Richard  III.,  inherited  from  his  mother  the  claim  of  the  Mortimers. 
Cambridge  was  beheaded  in  1415. 

Cambyses,  King,  I.  Henry  IV.,  ii.  4.  Allusion  to  a  play  by 
Thomas  Preston,  written  about  1561,  entitled  "A  Lamentable  Trage- 
dy, mixed  ful  of  pleasant  Mirth,  conteyning  the  Life  of  Cambises, 
King  of  Percia,  from  the  beginning  of  his  Kingdome  unto  his  Death, 
his  one  good  Deed  of  Execution  after  the  many  wicked  Deeds  and 
tirannous  Murders  committed  by  and  through  him,  and,  last  of  all, 
his  odious  Death  by  God's  Justice  appointed,  doon  in  such  order  as 
foloweth."  The  story  is  from  Herodotus  and  Justin.  It  was  Lang- 
baine's  conjecture  that  the  direct  allusion  was  to  the  opening  speech 
of  Cambyses,  of  which  these  lines  are  a  specimen : 


INDEX  TO  SHAKSPERE'S    WORKS.  51 

"  My  counsaile  grave  and  sapient, 
With  lords  of  legal  train, 
Attentive  eares  towards  us  bend, 
And  mark  what  shall  be  sain. 
My  sapient  words,  I  say,  perpend. 

And  so  your  skil  delate  : 
You  know  that  Mors  vanquished  hath 

Cirus,  the  king  of  state ; 
And  I,  by  due  inheritance. 

Possess  that  princely  crown. 
Ruling  by  sword  of  mighty  force, 
In  place  of  great  renown." 
Camelot  (in  Somersetshire,  where  many  geese  are  said  to  have 
been  kept),  King  Lear,  ii.  2. 

Camillo,  a  character  in  A  Winter's  Tale,  introduced  in  i.  1.  He 
is  a  lord  of  Sicilia,  who,  at  the  command  of  the  king  to  poison  his 
guest,  gives  Polixenes  warning,  and  flees  with  him  to  Bohemia. 
Later  in  the  play,  he  protects  and  advises  Florizel  and  Perdita. 

Camomile,  the,  grows  faster  for  being  trodden  upon,  /.  Henry 
IV.,  ii.  4. 

Cam.pems  (Laurence  Carapeggio),  cardinal  and  legate,  character 
in  Henry  VIII. ,  introduced  in  ii.  2.  He  was  Bishop  of  Salisbury, 
but  was  deprived  of  his  bishopric  by  Henry,  who  was  irritated  at  his 
conduct  concerning  the  divorce  from  Queen  Katherine. 

Canary,  name  of  a  lively  dance  and  also  of  a  wine,  Love's  La- 
hour's  Lost,  Hi.  1 ;  Merry  Wives  of  Windsor,  Hi.  2,  end;  All's  Well 
that  Ends  Well,  ii.  2.  The  dance  is  said  to  have  originated  in  the 
Canary  Isles. 

Cancer,  more  coals  to,  Troilus  and  Cressida,  ii.  3. 
Candle,  how  far  that  little,  Mercliant  of  Venice,  v.  1;  out,  brief 
candle,  3Iacheth,  v.  5. 

Candle-wasters  (book-worms),  Much  Ado  about  Nothing,  v.  1. 
Canidius,  Antony's  lieutenant-general,  introduced  in  Hi.  7,  of 
A7itony  and  Cleopatra ;  his  desertion,  iv.  6. 
Canis  (dog).  Love's  Labour's  Lost,  v.  2. 

Canker,  in  the  bud.  Two  Gentlemen  of  Verona,  i.  1 ;  hath  not 
thy  rose  a,  Somerset,  I  Henry  VI.,  ii.  4;  (the  dog-rose),  Much  Ado 
about  NotMng,  i.  3 ;  I.  Henry  IV.,  i.  3  ;  Sonnet  liv.  * 

Cannibals,  II.  Henry  IV.,  ii.  Jf',  Othello,  i.  3  ;  King  Lear,  i.  1, 
"  Make  his  generation  messes."     See  Anthropophagi. 

Cannon,  King  John,  i.  1.    Gunpowder  was  not  used  until  nearly 


52  INDEX  TO  SHAKSPERE'S   WORKS. 

a  hundred  years  later.  Cannons  are  said  to  have  been  first  used  by 
the  English  at  the  battle  of  Cressy  in  1346,  though  the  Moors  used 
them  in  the  year  1280.     Another  allusion  is  in  3Iacbeth,  i.  2. 

Cannon-balls  (gun-stones),  Henry  V.,  i.  2.  In  the  earliest  days 
of  the  use  of  artillery,  stone  balls  were  fired  from  the  guns. 

Canterbury,  Arundel,  Archbishop  of,  mentioned  in  Richard  II., 
ii.  1,  as  one  of  those  with  Bolingbroke.  He  crowned  Bolingbroke  as 
Henry  IV.  in  1399. 

Canterbury,  Henry  Chicheley,  Archbishop  of,  character  in  Hen- 
ry v.,  enters  in  the  first  scene,  where  he  describes  the  change  in  the 
king,  and  hopes  to  induce  him  to  repeal  the  order  passed  in  the  last 
reign  for  seizing  property  of  the  Church,  by  offering  a  large  sum  for 
the  wars  in  France.  In  the  second  scene  he  explains  the  claim  of 
the  king  to  the  crown  of  France,  and  eloquently  urges  Henry  to  en- 
force his  claim.     He  was  the  founder  of  All  Souls'  College,  Oxford. 

Canterbury,   Thomas  Bourchier,   Archbishop  of.     See  Bour- 

CHIER. 

Canterbury  Pilgrims,  I.  Henry  IV.,  i.  2.  Pilgrimages  were 
made  to  the  shrine  of  St.  Thomas  a  Becket  at  Canterbury. 

Cantle  (corner  or  part),  I.  Henry  lY.,  Hi.  1 ;  Antony  and  Cleo- 
patra,  Hi.  8  or  10. 

Cantons  (cantos).  Twelfth  Night,  i.  5. 

Canvass,  /.  Henry  VI.,  i.  3.  To  trap,  as  wild  fowl  were  taken 
in  a  canvass  or  net. 

Cap,  order  for  a  woman's,  Taming  of  the  Shrew,  iv.  3. 

Caper,  Master,  a  prisoner.  Merry  Wives  of  Windsor,  iv.  3. 

Capet,  Hugh,  his  title  to  the  crown  of  France,  Henry  V.,  i.  2. 

Caphis,  servant  of  one  of  the  creditors  of  Timon  of  Athens,  in- 
troduced in  ii.  1,  where  he  is  sent  to  dun  for  his  master's  due. 

Capilet,  family  of,  AlVs  Well  that  Ends  Well,  v.  3. 

Capilet,  my  horse,  grey,  Twelfth  Night,  Hi.  5. 

Capocchia  (fool),  Troilus  and  Oressida,  iv.  2. 

Capon,  Love's  Lahoufs  Lost,  iv.  1.  The  French  poulet  means 
both  a  young  fowl  and  a  love-letter. 

Captain,  the  title  of,  II.  Henry  IV.,  ii.  4. 

Captious,  and  intenible  (taking  in,  not  holding),  All's  Well  that 
Ends  Well,  i.  3. 

Capueius,  Eustachius,  ambassador  from  Charles  V.,  character  in 
Henry  VIII.,  introduced  in  iv.  2.  He  was  present  at  the  death  of 
Queen  Katherine  in  1536. 

Capulet,  character  in  Romeo  and   Juliet,  introduced  in  i.  1, 


INDEX  TO  SHAKSPERE'S  WORKS.  53 

Juliet's  father,  an  irascible,  tyrannical,  meddlesome  old  man,  un- 
steady in  his  feelings,  and  illogical  in  his  actions  and  conversation. 

Capiilet,  Lady,  introduced  in  Romeo  and  Juliet,  i.  1,  a  cold- 
hearted,  conventional,  unimpressible  person,  for  whom  Juliet  in 
quiet  times  shows  a  decent  filial  regard,  but  from  whom  she  expects 
no  sympathy  with  her  stronger  feelings  or  in  her  troubles. 

Car,  John  de  la,  the  Duke  of  Buckingham's  confessor,  Henry 
VIIL,  i.  1;  ii.l. 

Carack(s),  Comedy  of  Errors,  Hi.  2 ;  Othello,  i.2.  Large  ships 
of  burden. 

Caraway,  eaten  with  apples,  //.  Henry  IV.,  v.  3. 

Carbonado  (a  slice  cut  for  frying),  AlVs  Well  that  Ends  Well, 
IV.  5  ;  I  Henry  IV.,  v.  3  ;  Coriolanus,  iv.  5 ;  King  Lear,  ii.  2. 

Carbuncle,  the ;  allusions  to  its  supposed  power  of  giving  out 
unreflected  light,  J^iYz^s  J.W(^romcMS,  n.  <?;  Henry  VIII.,ii.3  ;  Ham- 
let, ii.  2. 

Carded  (mixed),  J.  Henry  IV.,  Hi.  2. 

Cards,  games  of:  Primero,  Merry  Wives  of  Windsor,  iv.5 ;  Hen- 
ry VIIL,  V.  1 ;  a,  card  of  ten  (possibly  also  an  allusion  to  primero), 
Taming  of  the  Shreiv,  ii.  1 ;  the  best  cards.  King  John,  v.  2 ;  the 
king  was  fingered  from  the  deck.  III.  Henry  VI.,  v.  1 ;  he  lurched 
all  swords,  Coriolanus,  ii.  2.  (To  lurch  was  to  win  easily) ;  hardly 
shall  I  carry  out  my  side  (get  the  game),  King  Lear,  v.  1. 

Carduus  Benedictus  (holy  thistle,  a  medicinal  herb,  thought 
good  for  heart-diseases),  Much  Ado  about  Nothing,  Hi.  4. 

Care,  business,  Merchant  of  Venice,  i.  1 ;  killed  a  cat.  Much  Ado 
about  Nothing,  v.  1 ;  an  enemy  to  life.  Twelfth  Night,  i.  3  ;  on  earth, 
Richard  II,  ii.2  ;  premature  aging  by,  /.  Henry  VI.,  ii.5  ;  no  cure, 
I.  Henry  VI,  Hi.  3 ;  in  the  aged,  Romeo  a?id  Juliet,  ii.  3. 

Careires  (short  turning  of  a  horse  from  side  to  side),  Jlerry 
Wives  of  Windsor,  i.  1. 

Carkanet  (necklace).  Comedy  of  Errors,  Hi.  1 ;  iv.  1. 

Carl  (churl),  Cymbeline,  v.  2. 

Carlisle,  Thomas  Merks,  Bishop  of,  character  in  Richard  II, 
introduced  in  Hi.  2.  He  was  arrested  for  treason,  iv.  1,  but  par- 
doned by  Henry  IV.,  v.  6. 

"  The  grand  type  of  genuine  loyalty  who  stands  faithfully  by  the 
side  of  the  lawful  king,  without  concealing  from  him  the  stern  voice 
of  truth  ;  who  defies  the  unlawful  usurper  in  the  public  assembly, 
but  still  elicits,  even  from  the  latter,  true  honour,  favour,  and  es- 
teem." 


54  INDEX  TO  SHAKSPERE'S  WORKS. 

Carnations,  A  Winter's  Tale,  iv.  3  or  4. 

Carp,  of  truth,  Hamlet,  ii.  1.  The  carp  was  proverbially  the 
wisest  of  fishes.  Its  brain  is  said  to  be  six  times  as  large  as  the  aver- 
age fish-brain. 

Carpets  (tapestry  table-cloths),  Taming  of  the  Shrew,  iv.  1. 

Carping,  not  commendable.  Much  Ado  about  Nothing,  Hi.  1. 

Carriage  (load),  TJie  Tempest,  v.  1 ;  King  John,  v.  7. 

Carriers,  conversation  between,  /.  Henry  I V.,  ii.  1. 

Cart,  the  horse  drawn  by  the,  King  Lear,  i.  4. 

Carthage,  Dido,  the  Queen  of,  Merchant  of  Venice,  v.  1;  The 
Tempest,  ii.  1. 

Carve  (to  make  gestures),  Love's  Labour's  Lost,  v.  2 ;  Merry 
Wives  of  Windsor,  i.  3. 

Casca,  character  in  Julius  Cmsar,  first  appears  in  i.  2.  He  is 
bitter  and  sarcastic,  and,  though  a  friend  of  Caesar,  is  drawn  into  the 
conspiracy  by  Cassius,  and  is  one  of  the  assassins.  Hi.  1,  the  first  to 
strike.    Antony  calls  him  "  the  envious  Casca,"  Hi.  2. 

Case  (pair  or  box  f),  of  lives,  Henry  Y.,  Hi.  2. 

Cashiered  (relieved  of  cash),  Merry  Wives  of  Windsor,  i.  L 

Caskets,  choice  of  the.  Merchant  of  Venice,  ii.  7,  9;  Hi.  2. 

Cassandra,  Priam's  daughter,  character  in  Troilus  and  Cres- 
sida,  introduced  in  ii.  2.  Apollo  gave  her  the  gift  of  prophecy,  but 
afterward  ordained  that  her  prophecies  should  never  be  believed.  In 
V.  3  she  foretells  the  death  of  Hector. 

Cassibelan,  Cymbeline,  i.  1 ;  Hi.  1.  He  was  King  of  Britain  be- 
fore Tenantius,  the  father  of  Cymbeline,  and,  being  conquered  by  the 
Romans,  agreed  to  pay  tribute,  b.  c.  54. 

Cassio,  Michael,  a  Florentine,  Othello's  lieutenant,  introduced  in 
i.  2.  lago,  who  hates  him  for  having  been  promoted  above  himself, 
contemptuously  describes  him  in  i.  1  as  an  arithmetician,  the  Floren- 
tines being  noted  for  banking  and  accounting.  He  is  frank,  simple, 
and  straightforward,  enthusiastically  devoted  to  Othello,  and  a  rever- 
ent admirer  of  Desdemona  {ii.  1).  He  is  disgraced,  ii.  3 ;  attacked 
by  Roderigo  and  wounded  by  lago,  v.  1. 

Cassius,  Caius,  character  in  Julius  Ccesar,  first  appears  in  i.  2. 
He  was  married  to  Brutus's  sister  Junia.  His  leanness,  i.  2 ;  talks 
of  Caesar  with  Brutus,  i.  2;  quarrel  with  Brutus,  iv.  3;  farewell  to 
him,  V.  1 ;  his  death,  iv.  3.  The  character  of  Cassius  is  sharply  con- 
trasted with  that  of  Brutus.  "  He  is  keen,  practical,  prompt,  ener- 
getic, severe,  and  inexorable ;  his  hatred  for  tyranny  is  mingled 
with  envy  of  the  man  whose  life  he  had  once  saved,  aiid  for  whose 


INDEX  TO  SHAKSPERE'S  WORKS.  55 

physical  powers  he  feels  contempt,  and  yet  who  seems  about  to  '  be- 
stride the  narrow  world  like  a  Colossus.'  A  keen  politician,  he 
knows  the  special  means  to  employ  in  influencing  each  of  the  con- 
federates. He  is  less  noble,  less  pure  and  disinterested  than  Brutus, 
less  a  man  of  thought  and  principle,  more  a  man  of  action."  His 
motive,  Antony  and  Cleopatra,  ii.  6  ;  struck,  Antony  and  Cleopatra, 
in.  9  or  11.    See  also  Brutus. 

Cassocks  (soldiers'  cloaks),  All's  Well  that  Ends  Well,  iv.  3. 

Castilian  (then  used  as  a  term  of  reproach).  Merry  Wives  of 
Windsor,  ii.  3. 

Castiliano  vulgo  (probably  a  blunder  for  volto),  with  a  Spanish, 
or  sober,  face.  Twelfth  Night,  i.  3. 

Castle  (a  strong  helmet),  Troilus  and  Cressida,  v.  2 ;  Titus  An- 
dronicus,  Hi.  1. 

Castle,  old  lad  of  the,  I.  Henry  IV.,  i.  2.  Allusion  to  Oldcastle, 
the  name  first  given  to  Falstaff,  q,  v. 

Casuistry,  of  the  legate,  King  John,  Hi.  1. 

Cat(s),  The  Tempest,  ii.  1;  Midsummer- Nighfs  Dream,  Hi.  2; 
Coriolanus,  iv.  2 ;  in  a  bottle  like  a.  Much  Ado  about  Nothing,  i.  1; 
allusion  to  the  sport  of  hanging  up  a  cat  in  a  bottle  of  soot  and 
striking  it ;  the  winner  was  the  one  w^ho  could  break  the  bottle  and 
escape  the  soot.  In  some  places  the  cat  was  afterward  tortured  to 
death.  Care  killed  a.  Much  Ado  about  Nothing,  v.  i ;  a  traitor,  a, 
AlVs  Well  that  Eiids  Well,  iv.  3 ;  aversion  to.  Merchant  of  Venice, 
iv.  1 ;  AlVs  Well  that  Ends  Well,  iv.  3 ;  prince  of  cats.  See  Tybalt. 
Nine  lives  of,  Romeo  and  Juliet,  Hi.  1;  in  the  adage,  Macbeth,  i.  7 ; 
familiar  of  witches,  Macbeth,  i.  1;  iv.  1;  melancholy,  I.  Henry  IV., 
i.2. 

Catalan  (Chinaman,  cheat).  Merry  Wives  of  Windsor,  ii.  1 ; 
Tivelfth  Night,  ii.  3. 

Cataract  (on  the  eye,  called  the  web  and  pin),  A  Winter's  Tale, 
i.  2  ;  King  Lear,  Hi.  4. 

Catechism,  Falstaff's,  on  honour,  I.  Henry  IV,  v.  1. 

Cater-cousins,  Jlerchcmt  of  Venice,  H.  2.  Quater  or  quarter- 
cousins. 

Caterpillars,  of  the  commonwealth,  Richard  II.,  ii.  3 ;  II. 
Henry  VL,  Hi.  1 ;  scholars,  etc.,  called,  II.  Henry  VI.,  iv.  4. 

Catesby,  Sir  William,  character  in  Richard  III,  first  appears  in 
i.  3.  He  was  unscrupulous  in  his  devotion  to  the  cause  of  Richard, 
was  taken  prisoner  at  Bosworth,  and  executed  by  order  of  Henry 
VII.,  August  25,  1485.    His  name  is  played  upon  in  the  rliyme  : 


56  INDEX  TO  SHAKSPERE'S  WORKS. 

"The  Cat,  the  Rat,  and  Lovel  the  Dog, 
Rule  all  England  under  the  Hog." 

Catling,  Simon,  a  musician  in  Romeo  and  Juliet,  iv.  4,  named 
from  a  string  of  catgut. 

Catlings  (catgut  strings),  Troilus  and  Cressida,  in.  3. 

Cato,  mentioned,  Coi'iolanus,  i.  4.  So  in  Plutarch,  where  it  is 
the  author's  comment,  not  that  of  a  character,  as  here.  Cato  was 
much  later  than  Coriolanus.     His  suicide,  Julius  Ccesar,  v.  1. 

Cato,  young,  character  in  Julius  Ccesar,  appears  in  v.  3,  and  is 
slain  in  the  following  scene. 

Cat  o'  mountain,  pinch-spotted.  The  Tempest,  iv.  1. 

Causeless  (supernatural),  AlVs  Well  that  Ends  Well,  ii.  3. 

Cause(s),  a  common,  Troilus  and  Cressida,  ii.  2 ;  good  or  bad, 
//.  Henry  1 V.,  iv.  1 ;  Henry  V.,  iv.  1 ;  II.  Henry  VI.,  Hi.  2. 

Causes,  inquiry  into,  A  Winter's  Tale,  i.  2.  "  How  should  this 
grow,"  etc. 

Cautels,  cautelous  (deceptions,  deceitful),  Coriolanus,  iv.  1; 
Julius  Ccesar,  ii.  1 ;  Hamlet,  i.  3 ;  Lover's  Complaint,  I.  303. 

Caution,  in  war,  //.  Henry  IV.,  i.  3  ;  in  trusting  men,  Henry  V., 
ii.  3  ;  in  observing  signs  of  evil.  Richard  III,  ii.  3  ;  an  adder  in  the 
path  craves  wary  walking,  Julius  Ccesar,  ii.  1 ;  of  age,  Hamlet,  ii.  1. 

Cavaleiro-Justice,  applied  to  Shallow  by  the  Host,  Merry  Wives 
of  Windsor,  ii.  1. 

Caviare  to  tlie  general,  Hamlet,  ii.  2.  Caviare  was  a  dish 
made  from  sturgeons'  roes,  not  liked  by  many. 

Cawdor,  Thane  of,  his  revolt  and  the  title  given  to  3Iacbeth,  i.  2  ; 
Macbeth  hailed  as,  i.  3  ;  death  of  the  former  thane,  i.  4.  The  account 
corresponds  with  that  by  Stowe  of  the  death  of  the  Earl  of  Essex. 

Cecily.     See  York,  Duchess  of. 

Celerity,  most  admired  by  the  negligent,  Antony  a7id  Cleopatra, 
Hi.  7. 

Celia,  character  in  As  You  Like  If,  introduced  in  the  second 
scene,  cousin  of  Rosalind,  and  her  companion  in  the  forest  under  the 
name  of  Aliena.  "  Celia  is  more  quiet  and  retired ;  but  she  rather 
yields  to  Rosalind  than  is  eclipsed  by  her.  She  is  as  full  of  sweet- 
ness, kindness,  and  intelligence,  quite  as  susceptible,  and  almost  as 
witty,  though  she  makes  less  display  of  wit.  She  is  described  as  less 
fair  and  less  gifted ;  yet  the  attempt  [by  her  father]  to  excite  in  her 
mind  a  jealousy  of  her  lovelier  friend  .  .  .  fails  to  awaken  in  the 
generous  heart  of  Celia  any  other  feeling  than  increasec?  'enderness 
and  sympathy  for  her  cousin." 


INDEX  TO  SHAKSPERE'S  WORKS.  57 

Celibacy.     See  Maidenhood  and  Marriage. 

Censure,  taken  to  one's  self,  As  You  Like  It,  ii.  7 ;  take  each 
man's,  Hamlet,  i.  3. 

Censures  (advice),  Richard  III.,  ii.  2. 

Censurers,  of  those  in  power,  Henry  VI II.,  i.  2. 

Centaur,  the  (inn),  Comedy  of  Errors,  i.  2. 

Centaurs  (monsters,  half  man,  half  horse),  Jlidsummer-Nighfs 
Dream,  v.  1 ;  King  Lear,  iv.  6  ;  Titus  Andronicus,  v.  2. 

Century  (a  hundred),  Ki7ig  Lear,  iv.  4  ;  Coriolanus,  i.  7 ;  Cym- 
beline,  iv.  2. 

Cerberus  (the  three-headed  dog  at  the  entrance  to  Tartarus), 
Love's  Labour's  Lost,  v.  2 ;  II.  Henry  IV.,  ii.  4;  Titus  Andronicus, 
ii.  4  or  5  ;  Troilus  and  Cressida,  ii.  L 

Ceremony,  the  idol,  Henry  V.,  iv.  1;  not  needed  in  true  friend- 
ship, Timon  of  Athe^is,  i.  2 ;  an  indication  of  cooling  friendship, 
Julius  Ccesar,  iv.  2 ;  sauce  to  meat,  Macbeth,  Hi.  4 ;  mere  mechanic 
compliment,  Antony  and  Cleopatra,  iv.  4. 

Ceremonies  (interpretation  of  omens),  Julius  Ccesar,  ii. 
1,2. 

Ceres  (goddess  of  the  harvest).  The  Tempest,  iv.  1 ;  II.  Henry 
VI.,  i.  2. 

Cerimon,  a  lord  of  Ephesus,  in  Pericles,  introduced  in  Hi.  2  ; 
his  healing  art,  Hi.  2  ;  v.  S.  "  Cerimon,  who  is  master  of  the  secrets 
of  nature,  who  is  liberal  in  his  '  learned  charity,'  ...  is  like  a  first 
study  for  Prospero." — Dowden. 

Cesario,  name  assumed  by  Viola  in  Twelfth  Night. 

Cess  (measure),  out  of  all,  I.  Henry  IV.,  H.  1. 

Chafe,  the  carriage  of  (bearing  of  anger),  Antony  and  Cleopatra, 
i.3. 

Chain,  speech  like  a  tangled,  Uidsummer-Nighfs  Dream,  v,  1  ; 
rub  your  chain  with  crumbs.  Twelfth  Night,  ii.  3.  Stewards  and 
other  upper  servants  wore  chains  of  gold  or  silver. 

Challenge(s),  from  Caius  to  Evans,  Merry  Wives  of  Windsor, 
i.  4;  directions  for  a.  Twelfth  Night,  Hi.  2 ;  sent,  Twelfth  Night,  Hi. 
4  ;  of  Bolingbroke  to  Norfolk,  Richard  II.,  i.  1 ;  Aumerle  to  Bagot, 
Richard  II.,  iv.  1;  of  the  prince  to  Hotspur,  /.  Henry  IV.,  v.  1,  2 ; 
Hector's,  Troilus  and  Cressida,  i.3  ;  Laertes  to  Hamlet,  Hamlet,  v.  2  ; 
Albany's  to  Edmund,  King  Lear,  v.  3  ;  Antony's  to  Cgesar,  Antony 
and  Cleopatra,  Hi.  11  or  13.     See  Gloves. 

Cham,  the  great  (sovereign  of  Tartary),  Much  Ado  about  Noth- 
ing, ii.  1. 


58  INDEX  TO  SEAKSPERE'S  WORKS. 

Chamber,  to  your,  Richard  III.,  Hi.  1.  London  was  called  the 
king's  chamber. 

Chamberlain,  the,  a  character  m  I.  Henry  IV.,  in  league  with 
the  highwaymen,  ii.  1. 

Chamberlain,  the  lord,  character  in  Henry  VIII.,  introduced 
in  i.  3.     Sir  Charles  Somerset,  Earl  of  Worcester. 

Chambers,  Henry  VIII.,  i.  4.  Short  pieces  of  ordnance,  used 
chiefly  on  festive  occasions. 

Chameleon,  the,  Two  Qentlemen  of  Verona,  ii.  1,4;  Hamlet,  in. 
2;  referring  to  the  supposed  fact  that  it  lived  on  air;  its  changes  of 
colour,  ///.  Henry  VI.,  Hi.  2. 

Champ,  Richard  du,  a  modern  French  name  oddly  used  in  Cym- 
heline,  iv.  2. 

Champions,  encounter  of,  in  the  lists,  Richard  II.,  i.  3  ;  hon- 
ours of,  affect  the  reputation  of  the  whole,  Troilus  and  Cressida,  i. 
3  ;  near  the  end  like  a  bold,  Pericles,  i.  1. 

Chance,  staking  on.  Merchant  of  Venice,  i.  1,  "  In  my  school- 
days," etc. ;  Richard  III.,  v.  4,  "  I  have  set  my  life,"  etc. ;  fulfilment 
of  prophecy  to  be  left  to,  Macbeth,  i.  3;  Hi.  1.  See  also  Fort- 
une. 

Chancellor,  the  lord,  character  in  Henry  VIII.,  introduced  in 
V.  2.    Sir  Thomas  More. 

Change,  in  a  man's  disposition,  Coriolanus,  v.  4 ;  the  lament- 
able, King  Lear,  iv.  1 ;  of  sovereigns,  Ki7ig  John,  Hi.  4- 

Changeling  (child  supposed  to  be  left  by  fairies  in  place  of  an- 
other), Midsummer-NigMs  Bream,  ii.  1 ;  A  Winter's  Tale,  Hi.  3  ;  iv, 
3  ;  I.  Henry  IV.,  i.  1. 

Changes,  wrought  by  time,  II.  Henry  I V.,  Hi.  1. 

Channel,    called  the  sea,  ///.  Henry  VI.,  ii.  2. 

Chanticleer,  The  Tempest,  i.  2,  song. 

Chantries,  little  chapels  where  masses  were  said  for  the  dead 
founders  of  churches.  Twelfth  Night,  iv.  3 ;  Henry  V.,iv.  1. 

Chapeless  (chape,  catch  of  the  scabbard),  Taming  of  the  Shrew, 
Hi.  2. 

Character,  a  high,  Tivo  Gentlemen  of  Verona,  ii.  7,  "  His  words 
are  bonds,"  etc. ;  manifested,  Pleasure  for  Pleasure,  i.  1 ;  tests  of. 
Measure  for  Measure,  i.  4,  etid ;  of  Wolsey,  Henry  VIII.,  iv.  2 ; 
change  in,  Coriolanus,  v.  4 ;  obscured  by  one  defect,  Hamlet,  i.  4 ,' 
sudden  change  in.  King  Lear,  i.  1,  "  This  is  most  strange,"  etc. ; 
beauty  of,  a  reproof  to  sin,  Othello,  v.  1. 

Charactery  (writing),  Julius  Ccesar,  ii.  1,  and  elsewhere. 


INDEX  TO  SHAKSFERE'S  WORKS.  59 

Characts  (appellations),  Measure  for  Measure,  v.  1. 

Chares  (chores),  Antony  and  Cleopatra,  iv.,  end;  v.  2. 

Charge-House  (free  school),  Love's  Labour's  Lost,  v.  1. 

Charing-Cross,  /.  Henry  IV.,  ii.  1.  Regarded  as  the  central 
point  of  London. 

Charity,  a  neighbourly,  Merchant  of  Venice,  i.  2 ;  fulfils  the 
law.  Love's  Labour's  Lost,  iv.  3 ;  capricious,  //.  Henry  IV.,  iv.  4. 
See  also  Bounty. 

Charity,  St.,  Hamlet,  iv.  5. 

Charlemagne,  a  physician  that  could  raise,  AWs  Well  that 
Ends  Well,  ii.  1 ;  and  the  Salic  law,  Henry  V.,  i.  2. 

Charles,  the  wrestler  thrown  by  Orlando  in  As  You  Like  It,  in- 
troduced in  i.  1 ;  the  wrestling-match  is  in  i.  2. 

Charles  V.,  Emperor  of  Germany,  Henry  VIII.,  i.  1 ;  Wolsey's 
revenge  on,  ii.  L 

Charles  VI.,  of  France,  character  in  Henry  V.,  first  appears  in 
ii.  4..  He  shows  a  more  just  idea  of  the  strength  of  the  English  than 
do  his  nobles. 

Charles  VII.,  of  France,  character  in  7.  Henry  VI.,  introduced 
in  i.  2,  but  spoken  of  in  the  first  scene.  His  success  began  with  the 
advent  of  Joan  of  Arc,  i.  2  ;  his  compact  with  the  English,  v.  4. 

Charles's  Wain,  I.  Henry  IV.,  ii.  1.  Said  to  be  a  corruption 
of  Chorl's  or  Churl's  Wain — the  Great  Bear.  Some,  however,  sup- 
pose the  constellation  to  have  been  named  in  honour  of  Charlemagne. 

Charmian,  character  in  Antony  and  Cleopatra,  introduced  in 
i.  2,  an  attendant  and  confidante  of  Cleopatra. 

Charms,  magic,  The  Tempest,  i.  2  ;  ii.  1,  2 ;  Hi.  2 ;  iv.  1;  v.  1; 
Richard  III.,  Hi.  4;  Macbeth,  iv.  1 ;  King  Lear,  ii.  1 ;  love,  Othel- 
lo, i.  1,  2,  3  ;  allusion  to  charms  against  death,  Cymbeline,  v.  3,  "  In 
mine  own  woe  charmed,"  etc.;  silence  for  a,  Othello,  v.  2. 

Chameco,  II.  Henry  VI..  ii.  3.  A  kind  of  sweet  wine  made  in 
Charneco,  Portugal. 

Charnel-house,  horrors  of  a,  Romeo  and  Juliet,  iv.  3. 

Charolois,  mentioned,  Henry  V.,  Hi.  5. 

Charon,  who  ferried  the  dead  over  the  river  Acheron,  Richard 
TIL.  i.  4  ;  Troilus  and  Cressida,  Hi.  2. 

Chartreux,  monk  of  the,  Henry  VIII.,  i.  1. 

Charybdis,  Merchant  of  Venice,  Hi.  5. 

Chase,  the,  Venus  and  Adonis,  I.  3. 

Chase,  terms  of  the.     See  Hunting  Terms. 

Chastity,  Romeo  and  Juliet,  i.  1 ;  more  than  life,  Measure  for 


60  INDEX  TO  SHAKSPERE'S  WORKS. 

Ileasure,  ii.  4;  ice  of,  As  You  Like  It,  iii.  4;  as  the  icicle,  Goriolo/- 
nus,  V.  3  ;  Cymbeline,  ii.  3. 

Chatham,  clerk  of,  a  character  in  II.  Henry  VI,  introduced  in 
iv.  2. 

Chatillon,  Hugh  de,  French  ambassador  in  King  John,  intro- 
duced in  the  first  scene. 

Chatillon,  Jaques,  mentioned  in  Henry  V.,  iii.  5  ;  iv.  8. 

Chaudron  (entrails).  Macbeth,  iv.  1. 

Cheapside,  //.  Henry  VI,  iv.  2,  7. 

Cheater  (or  escheater,  an  officer  that  looked  after  reversions), 
Merry  Wives  of  Windsor,  i.  3. 

Check,  Hamlet,  iv.  7  (or  4),  and  elsewhere.  Said  of  a  hawk  that 
starts  away  from  the  lure. 

Cheerfulness,  Merchant  of  Venice,  i.  1,  "Let  me  play  the  fool," 
etc.;  conduces  to  longevity,  Love's  Labour's  Lost,  v.  2;  a  merry 
heart  goes  all  the  day,  A  Winter's  Tale,  iv.  2. 

Cheese,  allusion  to  the  love  of  the  Welsh  for.  Merry  Wives  of 
Windsor,  v.  5  ;  Thersites  called,  Troilus  and  Cressida,  ii.  3. 

Cherry-pit  (a  game  of  pitching  cherry-stones).  Twelfth  Nighty 
iii.  4. 

Chertsey,  monastery,  Richard  III,  i.  2. 

Cherubin  (old  form  of  the  word  cherub).  The  Tempest,  i.  2,  and 
elsewhere. 

Chess,  allusions  to :  Taming  of  the  Shrew,  i.  1,  "  To  make  a 
stale  of  me,"  etc. ;  The  Tempest,  v.  1 ;  King  John,  ii.  1,  "  Mayst  be 
a  queen  and  check  the  world ; "  //.  Henry  VI.,  Hi.  1,  "  Mates,"  etc. 

Chester,  II.  Henry  IV,  i.  1. 

Chests,  or  caskets,  the  choice  in.  Merchant  of  Venice,  i.  2. 

Cheveril  (kid).  Twelfth  Night,  iii.  1 ;  Romeo  and  Juliet,  ii.  4  ', 
a  conscience  of,  Henry  VIII,  ii.  3. 

Chewet,  I.  Henry  IV.,  v.  1.  Probably  the  same  as  chough, 
jackdaw. 

Chicheley,  Henry.    See  Canterbury. 

Chiding,  of  lovers,  Tico  Gentlemen  of  Verona,  iii.  1;  of  chil- 
dren. Othello,  iv.  2  ;  II  Henry  IV,  iv.  4. 

Child  (used  for  girl  ?),  A  Wi7iter's  Tale,  iii.  3.  Perhaps  it  should 
read  "  a  god  or  a  child,"  as  the  shepherd  thought  in  Greene's  story. 
Likeness  of  a,  to  its  father,  A  Winter's  Tale,  ii.  3  ;  pleadings  of  a, 
King  John,  iv.  1;  government  by  a,  Richard  III.,  ii.  3 ;  a  dis- 
carded, Ki?ig  Lear,  i.  i ;  a  thankless.  King  Lear,  i.  4  ;  ii.  4. 

Childeric,  mentioned,  Henry  V.,  i.  2. 


mDEX  TO  SHAKSPERE'S   WORKS.  61 

Childhood,  second.  As  You  Like  It,  ii.  7  ;  Hamlet,  ii.  2. 

Childish-foolish,  too,  for  this  world,  Richard  III.,  i.  3. 

Children,  should  not  know  wickedness,  Merry  Wives  of  Wind- 
sor, ii.  2 ;  ingratitude  of,  Measure  for  Measure,  Hi.  1,  "  Friend  hast 
thou  none,"  etc. ;  innocence  and  influence  of,  A  Winter's  Tale,  i.  2  ; 
cast  away,  ii.  3 ;  wise,  live  not  long,  Richard  III.,  Hi.  1;  on  the 
stage,  Hamlet,  ii.  2.  Children  as  actors  were  much  in  fashion  at  the 
time  the  play  was  written.  A  company  of  them  played  at  the  Black- 
friars  Theatre,  and  were  called  Children  of  the  Eevels ;  unfilial,  King 
Lear,  li.  4  ;  dying  before  their  parents,  Lucrece,  I.  1756 ;  the  beau- 
tiful should  leave,  Sonnets  i.  to  xvii.    See  also  Ingratitude. 

Child  Roland,  King  Lear,  Hi.  4-     ^  fragment  of  an  old  ballad. 

Chine,  mourning  in  the  (mumps),  Taming  of  the  Shreiv,  Hi.  2 ; 
(variorum, "  mose  in  the  chine,"  not  explained) ;  of  beef,  Henry  VIIL, 
V.  4. 

Chiron,  son  of  Tamora,  in  Titus  Andronicus,  introduced  in  i.  1 
(or  2),  as  a  prisoner  of  the  Romans.  He  is  released  by  the  emperor ; 
plots  against  Lavinia,  H.  1,  3,  4,'  is  killed,  v.  2.  A  brutal  and  dis- 
gusting character. 

Chisel,  what,  could  cut  breath,  A  Winter's  Tale,  iv.  3. 

Chivalry,  I.  Henry  IV.,  v.  1 ;  Henry  V.,  iv.  6;  in  the  vein  of, 
Troilus  and  Cressida,  v.  3. 

Choice,  obligation  to  stand  by  one's,  Troilus  and  Cressida,  ii.  2. 

Choler,  like  gunpowder,  Henry  V.,  iv.  7 ;  let  reason  question 
with,  Henry  YIIL,  i.  1. 

Chopine,  Hamlet,  ii.  2.  A  very  thick-soled  shoe  or  clog  worn 
by  Spanish  and  Italian  ladies. 

Choplogic  (to  bandy  words,  quibble),  Romeo  and  Jidiet,  Hi.  5. 

Chopping  (changeable),  Richard  II,  v.  3. 

Choruses,  are  introduced  at  the  beginning  of  each  act  in  Henry 
v.,  and  first  and  second  acts  of  Romeo  and  Juliet. 

Chough  (jackdaw).  The  Tempest,  ii.  1 ;  Hamlet,  v.  2;  and  else- 
where. 

Christ,  atonement  by,  Measure  for  Measure,  ii.  2,  "  He  that 
might  the  vantage,"  etc. ;  II.  Henry  VI.,  Hi.  2,  "  To  free  us  from 
his  Father's  wrathful  curse " ;  the  captain,  Richard  II.,  iv.  1 ; 
"those  blessed  feet,"  /.  Henry  IV.,  i.  1;  redemption  by  his  blood, 
Richard  III.,  i.  4. 

Christendoms  (Christian  names),  Alls  Well  that  Ends  Well,  i.l; 
King  John,  iv.  1. 

Christenings.     See  Gossips,  Spoons,  and  Elizabeth. 


62  INDEX  TO  SHAKSPERE'S  WORKS. 

Christians,  hatred  toward,  Merchant  of  Venice,  i.  3  ;  "  mean  to 
be  saved,"  etc.,  Twelfth  Night,  Hi.  2  ;  war  between,  King  John,  v. 
2 ;  I.  Henry  IV.,  v.  1 ;  crusade  of,  Richard  II.,  iv.  1. 

Christmas-tide,  Hamlet,  i.  1,  end;  comedy  for,  Love's  La- 
hours  Lost,  V.  2  ;  gambold  for.  Taming  of  the  Shreiv,  induction,  2. 

Christom-child,  Henry  V.,  ii.  3.  One  that  dies  soon  after  its 
baptism. 

Chronicle,  of  day  by  day,  The  Tempest,  v.  1 ;  players  are  chroni- 
cles of  the  time,  Hamlet,  ii.  2. 

Chrysolite,  one  entire  and  perfect,  Othello,  v.  2.  An  old  Jewish 
writer  is  said  to  have  mentioned  a  chrysolite,  a  stone  having  super- 
natural virtues,  which  was  in  the  form  of  a  woman,  and  had  power 
against  all  charms. 

Chuffs  (coarse,  fat  fellows),  I.  Henry  IV.,  ii.  2. 

Church,  plain  as  the  way  to,  where  bells  have  knoUed  to.  As 
You  Like  It,  ii.  7 ;  headship  of  the,  in  England,  King  John,  Hi.  1 ; 
ransacking  the,  King  John,  Hi.  4. ;  forgotten  the  inside  of  a,  /.  Hen- 
ry IV.,  Hi.  3  ;  proposal  to  convert  its  property  to  uses  of  the  state, 
Henry  V.,  i.  1 ;  attack  on  the,  I.  Henry  VI.,  i.  1. 

Churchman,  qualities  becoming  a,  Henry  VII I.,  Hi.  2 ;  v.  3 ; 
I.  Henry  VI,  Hi.  1. 

Churchyards,  scenes  in,  Romeo  and  Juliet,  v.  3 ;  Hamlet,  v.  1. 

Churlishness,  As  You  Like  It,  ii.  4- 

Cicely  Hacket,  Taming  of  the  Shrew,  induction,  2. 

Cicero  (106-43  b.  c),  introduced  as  a  character  in  Julius  CcBsar, 
i.  2;  his  eyes,  i.  2;  his  reputation,  ii.  1;  would  never  follow  a 
thing  begun  by  others,  ii.  1 ;  his  death  reported,  iv.  3.  Allusion  to 
his  murder,  II  Henry  VI,  iv.  L 

Cicester,  or  Chichester,  Richard  II.,  v.  6. 

Cinna,  one  of  the  conspirators  in  Julius  Ccesar,  first  appears  in 
i.  3.    After  his  exit  his  worth  and  popularity  are  spoken  of. 

Cinna,  a  poet,  character  in  Julius  Ccesar,  to  be  distinguished 
from  the  conspirator  of  the  same  name,  appears  in  Hi.  3.  Plutarch 
says  he  was  mistaken  for  Cinna  the  conspirator,  and  slain  by  the 
people. 

Cinque-pace,  Iluch  Ado  about  Nothing,  H.  1.  A  dance  in 
measures  of  five. 

Cinque-ports,  the,  Henry  VIII,  iv.  1.  The  five  ports  were 
Dover,  Hastings,  Hythe,  Romney.  and  Sandwich.  They  had  enjoyed 
special  privileges  since  the  days  of  Edward  the  Confessor  {circa  lOoOX 
on  condition  of  providing  a  certain  number  of  ships  in  time  of  war. 


INDEX  TO  SHAKSPERE'S  WORKS.  63 

Cipher,  a,  in  a  rich  place,  A  Winter's  Tale,  i.  2  ;  value  of,  Hen- 
ry v.,  i.,  chorus;  without  a  figure,  King  Lear,  i.  4- 

Circe  (a  fabled  sorceress),  cup  of,  Comedy  of  Errors,  v.  1 ;  Henry 
VI.,  V.  2. 

Circum  circa  (round  about).  Love's  Labour's  Lost,  v,  1. 

Circumlocution,  Measure  for  Measure,  ii.  1,  Pompey's  account ; 
Armado's  letter.  Love's  Labour's  Lost,  i.  1 ;  Romeo  and  Juliet,  Hi. 
2,  the  nurse ;  //.  Henry  IV.,  ii.  1,  the  hostess. 

Circum-mured  (walled  about),  Measure  for  Measure,  iv.  1. 

Circumspection,  a  tyrant's  hatred  of,  Richard  III.,  iv.  2 ;  rec- 
ommended, Othello,  Hi.  3. 

Circumstanced  (content  with  circumstances),  Othello,  Hi.  4. 

Citizens,  fat  and  greasy,  As  You  Like  It,  ii.  1. 

City,  the  people  are  the,  Coriolanus,  Hi.  1. 

City  woman,  dress  of  the,  As  You  Like  It,  ii.  7. 

Civet,  Much  Ado  about  Nothing,  Hi.  2 ;  As  You  Like  It,  Hi. 
2  ;  to  sweeten  imagination.  King  Lear,  iv.  6. 

Civility,  Merchant  of  Venice,  ii.  2 ;  empty  of,  As  You  Like  It, 
ii.  7.    See  Courtesy. 

Clack-dish,  (a  rattling  dish  used  by  beggars),  Measure  for  3Ieas- 
v/re.  Hi.  2. 

Claims,  ancient,  Henry  V.,  ii.  4. 

Clamour  your  tongues  (set  them  all  off  together  like  a  peal  of 
bells  to  close  the  ringing),  A  Winter's  Tale,  iv.  S  or  4- 

Clare,  St.,  sisterhood  of,  Measure  for  Pleasure,  i.  5. 

Clarence,  George,  Duke  of,  son  of  the  Duke  of  York,  and  brother 
of  Edward  IV.  and  Richard  III.  He  is  a  character  in  ///.  Henry 
VI.,  introduced  in  ii.  6,  where  he  is  named  Duke  of  Clarence.  In 
iv.  1,  he  takes  part  with  Warwick,  ostensibly  on  account  of  Edward's 
marriage,  and  in  v.  1  again  changes  sides.  Richard's  designs  toward 
him  are  expressed  at  the  end  of  v.  6.  He  is  also  introduced  in  Rich- 
ard III.,  i.  1 ;  imprisoned  in  the  Tower  and  secretly  murdered,  i.  4  / 
Edward's  sorrow  for  his  death,  H.  1.  His  ghost  appears  to  Richard, 
V.  3.  His  children,  ii.  2;  iv.  1,  2,  3.  The  boy  was  Edward,  Earl  of 
Warwick.  He  was  kept  a  prisoner  after  Bos  worth,  and  put  to  death 
in  1499,  on  a  charge  of  being  an  accomplice  of  Perkin  Warbeck.  He 
was  the  last  Plantagenet.  The  character  of  Clarence  seems  to  have 
deserved  the  epithets  heard  in  his  dream,  i.  2,  "  false,  fleeting,  per- 
jured Clarence," 

Clarence,  Thomas,  Duke  of,  son  of  Henry  IV.,  character  in  sec- 
end  part,  introduced  in  iv.  4, 


64  INDEX  TO  SHAKSPERE'S  WORKS. 

Claribel,  daugliter  of  the  King  of  Naples,  meulioiied  in  llie 
Tempest,  ii.  1 ;  v.  1. 

Claudio,  character  in  Measure  for  Measure,  introduced  in  L  3, 
He  is  a  young  noble  under  sentence  of  death,  on  which  sentence  the 
plot  of  the  drama  depends.  He  is  of  light  disposition,  fickle,  mer- 
curial, and  of  lively  imagination,  far  inferior  to  his  sister  Isabella  in 
strength  and  elevation  of  character. 

Claudio,  the  lover  of  Hero  in  Much  Ado  about  Nothing,  intro- 
duced in  the  first  scene.  He  is  a  young  Florentine,  who  has  been  in 
the  wars  with  Don  Pedro  of  Aragon,  and  his  bravery  is  spoken  of 
before  he  enters. 

"With  regard  to  Claudio's  character,  Shakspere  has  so  blended 
the  elements  in  his  nature,  he  has  given  such  a  good  foundation  of 
honour  and  self-reliance  to  his  unstable  mind  and  fickle  youth,  that 
we  cannot,  with  all  our  disapprobation  of  his  conduct,  be  doubtful 
as  to  his  character.  Changeable  as  he  is,  he  continues  stable  in  no 
choice  of  friends  and  loved  ones,  since  he  had  never  continuously 
tested  them ;  at  the  slightest  convulsion  of  events  he  is  overpowered 
by  first  impressions,  and  he  is  without  the  strength  of  will  to  search 
to  the  bottom  of  things.  This  would  be  an  odious  and  despicable 
character,  if  the  changeableness  were  not  tempered  by  the  excita- 
bility of  a  tender  feeling  of  honour." — Gervixus. 

Claudius,  Brutus's  servant  in  Julius  CcBsar,  appears  in  iv.  3. 

Claudius,  King  of  Denmark,  Hamlet's  step-father,  introduced 
in  i.  2.  In  the  original  history  he  is  called  Fengo.  He  has  poisoned 
Hamlet's  father,  i.  5,  and  possessed  himself  of  his  dominions  and  his 
widow.  His  remorse.  Hi.  1,  leads  him  to  prayer.  Hi.  ^,  but  not  to 
restitution  or  open  repentance.  He  seeks  Hamlet's  life,  v.  2,  and 
after  the  failure  of  his  first  scheme,  plots  with  Laertes,  iv.  7,  that 
Hamlet  shall  die  by  the  poisoned  foil,  or  afterward  by  the  poisoned 
cup,  iv.  7  ;  and  he  himself  receives  them  both,  v.  2. 

Claw  (flatter),  3Iuch  Ado  ahout  Nothing,  i.  3. 

Clay,  differs  in  dignity,  Cymheline,  iv.  2. 

Clean  kam  (nothing  to  the  purpose),  Coriolanus,  Hi.  1. 

Clearness  (from  suspicion),  that  I  require,  JIacbeth,  Hi.  1. 

Cleomenes,  an  unimportant  character  in  A  Winter's  Tale,  sent 
by  Leontes  to  the  oracle  at  Delphos,  H.  3  ;  Hi.  1. 

Cleon,  Governor  of  Tharsus,  character  in  Pericles,  first  appears 
in  i.  4;  he  is  an  accomplice  after  the  fact  in  the  supposed  murder  of 
Marina,  iv.  3  (or  4)  '■>  liis  punishment,  v.,  end. 

Cleopatra,  Queen  of  Egypt,  introduced  in  the  first  scene  of  An- 
tony and  Cleopatra.  Her  complexion,  i.  1,  5  (she  was  of  Greek  ex- 
traction, and  probably  therefore  not  black) ;  her  age,  i.  5  (she  was 


INDEX  TO  SHAKSPERE'S    WORKS.  65 

then  twenty-eight) ;  her  splendor,  ii.  2 ;  anger  and  jealousy,  ii.  5  ; 
carried  in  a  mattress,  ii.  6 ;  Queen  of  Syria,  Hi.  G ;  purpose  to  go 
into  the  war,  Hi.  7 ;  at  Actiuin,  iii.  8-10 ;  her  submission  to  Cccsar, 
Hi.  11  or  13 ;  charged  by  Antony  with  betraying  him,  ii\  10  or  12 ; 
feigns  death,  iv.  11,  12  or  13, 14  ;  her  grief  for  Antony,  iv.  13  or  15  ; 
her  horror  of  being  carried  to  Eome,  her  message  to  Caesar,  and  her 
death,  v.  2. 

"  I  have  not  the  slightest  doubt  that  Shakspere's  Cleopatra  is  the 
real  historical  Cleopatra,  the  'rare  Egyptian,'  individualized  and 
placed  before  us.  Her  mental  accomplishments,  her  unequalled 
grace,  her  woman's  wit  and  woman's  wiles,  her  irresistible  allure- 
ments, her  starts  of  ungovernable  temper,  her  vivacity  of  imagina- 
tion, her  petulant  caprice,  her  fickleness  and  her  falsehood,  her  tender- 
ness and  her  truth,  her  childish  susceptibility  to  flattery,  her  mag- 
nificent spirit,  her  royal  pride,  the  gorgeous  Eastern  colouring  of  the 
character — all  these  contradictory  elements  has  Shakspere  seized, 
mingled  them  in  their  extremes,  and  fused  them  into  one  brilliant 
impersonation  of  classical  elegance.  Oriental  voluptuousness,  and 
gipsy  sorcery.  What  better  proof  can  we  have  of  the  individual 
truth  of  the  character  than  the  admission  that  Shakspere's  Cleo- 
patra produces  exactly  the  same  effect  on  us  that  is  recorded  of  the 
real  Cleopatra  f  She  dazzles  our  faculties,  perplexes  our  judgment, 
bewilders  and  bewitches  our  fancy ;  from  the  beginning  to  the  end 
of  the  drama,  we  are  conscious  of  a  kind  of  fascination  against  which 
our  moral  sense  rebels,  but  from  which  there  is  no  escape." — Mrs. 
Jameson. 

Allusions  to  Cleopatra :  As  You  Like  It,  iii.  2,  song ;  a  gipsy, 
Romeo  and  Juliet,  ii.  Jf.;  her  figure  on  tapestry,  Cyrnbeline,  ii.  4- 

Clepe  (call),  Hamlet,  i.  4,  and  elsewhere. 

Clergy,  the,  like  an  effeminate  prince,  /.  Henry  VI.,  i.  1 ;  robbed, 
II.  Henry  VI,  i.  3. 

Clergynian(nien),  good-humoured  ridicule  of,  Merry  Wires  of 
Windsor,  Hi,  1 ;  reproaches  against  a,  /.  Henry  III,  iii.  1 ;  in  war, 
//.  Henry  IV.,  i.  2  ;  office  of,  II.  Henry  IV.,  iv.  2. 

Cliff  (clef).  Troilus  and  Cressida,  v.  2. 

Clifford,  John,  Lord,  son  of  Thomas,  character  in  II.  Henry  VI., 
where  he  appears  in  v.  1  and  2  as  "  young  Clifford,"  and  in  ///. 
Henry  VI.,  introduced  in  the  first  scene.  In  revenge  for  his  father's 
death,  he  kills  the  young  Earl  of  Rutland  in  cold  blood,  i.  3,  and  for 
his  cruelty  he  receives  the  name  of  "  the  butcher,"  act  ii.,  scene  2. 
In  i.  4  he  is  represented  as  stabbing  York,  and  in  H.  3,  Warwick's 
brother,  and  fighting  with  Richard,  ii.  4.  His  death  at  the  battle  of 
Towton,  ii.  G.  He  was  in  reality  slain  shoi-tly  lieforc  that  battle,  at 
Ferrybridge  (March  28,  14G1),  where  he  first  defeated  the  Yorkists, 


QQ  INDEX  TO  SHAKSPEUE'S  WORKS. 

and  was  then  defeated  by  them  under  Lord  Faleonberg.  His  murder 
of  Rutland  is  again  spoken  of  in  Richard  III.,  i.  2. 

Clifford,  Thomas,  Lord,  character  in  II.  Henry  VI.,  introduced 
in  V.  1.  He  was  a  grandson  of  Hotspur,  and  a  partisan  of  Henry. 
He  was  killed  at  the  battle  of  St.  Albans  (February  17,  1461),  v.  2. 

Cliffs,  at  Elsinore,  Hamlet,  i.  4 ;  at  Dover,  King  Lear,  iv.  6  ; 
Comedy  of  Errors,  Hi.  2;  II.  Henry  VI.,  Hi.  2. 

Clifton,  Sir  John,  at  Shrewsbury,  /.  Henry  IV.,  v.  J^ 

Cling  (wither),  JIacbeth,  v.  5. 

Clinquant,  tinsel,  Henry  VIIL,  i.  1. 

Clip  (to  clasp,  embrace),  11.  Henry  VI.,  iv.  1,  and  elsewhere. 

Clitus,  a  servant  of  Brutus  in  Julius  Ccesar,  appears  in  v.  5. 

Cloak,  an  old,  makes  a  new  jerkin.  Merry  Wives  of  Wi?idsor,  i. 
3 ;  on  a  horse,  II.  Henry  VI.,  iv.  7  ;  my  inky,  Hamlet,  i.  2. 

Clock(s),  a  woman  like  a  German,  Love's  Lahoufs  Lost,  Hi.  1, 
end ;  time  hath  made  me  his,  Richard  II.,  v.  5 ;  their  arms  are  set 
to  strike  on  like,  Henry  VI.,  i.  2. 

Cloten,  son  of  the  queen  in  Cymheline,  introduced  in  i.  2.  He 
was  intended  by  the  king  and  queen  for  Imogen's  husband.  His 
wickedness,  i.  1 ;  encounter  with  Posthumus,  i.  1, 2 ;  Imogen's  opin- 
ion of,  Hi.  4  ;  his  death,  iv.  2. 

"  The  character  of  Cloten,  the  conceited,  booby  lord,  and  rejected 
lover  of  Imogen,  though  not  very  agreeable  in  itself,  and  at  present 
obsolete,  is  drawn  with  great  humour  and  knowledge  of  character." 
— Hazlitt. 

Clothair,  Henry  V.,  i.  2;  Henry  VIIL,  i.  3. 

Clothes,  the  soul  of  a  man,  AlVs  Well  that  Ends  Well,  ii.  5 ; 
tattered  clothes,  King  Lear,  iv.  6;  but  one  suit  of.  Taming  of  the 
Shrew,  induction,  2,  "  What  raiment  I'll  wear,"  etc. 

Clotpolt(s)  (blockheads),  Oswald  a,  King  Lear,  i.4;  Troilus  and 
Cressida,  ii.  1 ;  Cymheline,  iv.  2. 

Cloud,  in  the  face,  Antony  and  Cleopatra,  Hi.  2.  A  horse  is  said 
to  have  a  cloud  in  his  face  when  he  has  a  dark  spot  between  the 
3yes. 

Cloud(s),  when,  appear,  wise  men  put  on  their  cloaks,  Richard 
III.,  ii.  3 ;  overcome  us,  like  a  summer,  Ilacbeth  Hi.  4;  forms  ol 
The  Tempest,  ii.  2 ;  Hamlet,  Hi.  2 ;  Antony  and  Cleopatra,  iv.  12 

Clout,  the.  Love's  Labour's  Lost,  iv.  1 ;  King  Lear,  iv.  6,  and 
elsewhere.     The  bull's-eye  of  the  target,  a  piece  of  white  cloth. 
Clowder,  name  of  a  dog,  Taming  of  the  Shreu\  induction,  1. 


INDEX  TO  SHAKSPERE'S  WORKS.  67 

Clown,  a,  character  in  AlVs  Well  that  Ends  Well,  introduced  in 
the  third  scene. 

Clown,  a  character  in  A  Winter''s  Tale,  appears  first  in  iii.  3. 

Clown(s),  acting  by,  Midsummer- JVighfs  Dream,  v.  1 ;  meat  and 
drink  to  see  a,  As  You  Like  It,  v.  1 ;  Hamlet,  iii.  2.    See  Jesters. 

Clubs,  cry  of,  /.  Henry  YI,  i.  3 ;  Henry  YIIL,  v.  4.  A  rallying- 
cry  among  apprentices. 

Clytus,  mentioned,  Henry  Y.,  iv.  7. 

Coals,  carry,  Henry  Y,,  iii.  2 ;  Romeo  and  Juliet,  i.  1.  To  bear 
insults. 

Coat(s)  of  arms,  the  dozen  white  luces  in  their,  Merry  Wives 
of  Windsor,  i.  1;  lions  of  England's,  I.  Henry  YI.,i.5;  in  heraldry, 
Midsummer-NighV s  Dream,  Hi.  2. 

Cobbler,  a,  Julius  Cmsar,  i.  1. 

Cobham,  Edward  Brooke,  Lord,  mentioned  in  III.  Henry  YI, 
in  the  second  scene. 

Cobham,  Eleanor.    See  Gloucester,  Duchess  of. 

Cobham,  Reginald,  Lord,  mentioned  in  Richard  II,  ii.  1,  as 
one  of  the  adherents  of  Bolingbroke.  He  was  the  grandfather  of 
the  Duchess  of  Gloucester  in  II  Henry  YI. 

Cobloaf  (a  small,  misshapen  loaf),  Troilus  and  Cressida,  ii.  1. 
Alluding  to  the  misshapen  head  of  Thersites. 

Cobweb,  a  fairy  in  the  Midsummer-Nighf s  Dream,  iii.  1. 

Cock,  the  word  sometimes  used  as  a  corruption  of  "  God,"  Ham- 
let, iv.  5,  and  elsewhere. 

Cockatrice,  or  basilisk,  Richard  III,  iv.  1.  It  was  fabled  to 
be  hatched  by  a  toad  or  serpent  from  the  ^g^  of  a  cock  ;  kills  by  a 
look.  Twelfth  Night,  Hi.  4;  Romeo  and  Juliet,  Hi.  2;  Lucrece,  L 
S40.    See  also  Basilisk, 

Cock-a-whoop,  set  (begin  a  fight),  Romeo  and  Juliet,  i.  5. 

Cock-crow,  The  Tempest,  i.  2,  song ;  Richard  III,  v.  3 ;  ghosts 
vanish  at,  Hamlet,  i.  1,  2 ;  at  Christmas,  Hamlet,  i.  1. 

Cock-fighting,  allusions  to,  Antony  and  Cleopatra,  ii.3;  Ham- 
let, V.  2,  "  The  potent  poison  quite  o'ercrows,"  etc. 

Cockle-hat,  Hamlet,  iv.  5,  song.  Hat  with  a  cockle-shell,  the 
pilgrim's  badge,  on  it. 

Cockney  (perhaps  an  under-cook,  originally),  Twelfth  Night,  iv. 
1 ;  King  Lear,  ii.  4. 

Cock-shut  time,  Richard  III,  v.  3.  Evening  twilight,  when 
nets,  called  cock-shuts,  were  set  in  the  woods  for  woodcocks. 

Cocytus,  Titus  Andronicus,  ii.  3  or  ^.     The  river  of  lament 


68  INDEX    TO  SHAKSPERE'S    WORKS. 

Codling  (an  unripe  apple),  Tivelfth  Nigld,  i.  5. 

Cod's  head,  to  change  the,  for  the  salmon's  tail,  Othello,  ii.  1. 

Coeur  de  Lion  (Richard  I.),  King  John,  i.  1 ;  I.  Henry  VI.,  in.  2. 

Cog  (to  load  dice,  to  cheat),  Love's  Labour's  Lost,  v.  2 ;  Richard 
III.,  i.  3  ;  Troilus  and  Cress ida,  v.  6,  and  elsewhere. 

Coigne  of  vantage  (jutting  point  of  a  wall),  Ilacbeth,  i.  6. 

Coil,  Two  Gentlemen  of  Verona,  i.  2;  I  am  not  worth  this,  Ki7ig 
John,  it.  1 ;  this  mortal,  Hamlet,  Hi.  L 

Colbrand,  King  John,  i.  1 ;  Henry  VIII.,  v.  3.  A  Danish  giant 
with  whom  Guy  of  Warwick  fought  before  King  Athelstane. 

Colchos,  or  Colchis,  on  the  eastern  shore  of  the  Black  Sea,  where 
was  the  Golden  Fleece,  Iderchant  of  Venice,  i.  1. 

Coleville,  Sn-  John,  character  in  II.  Henry  IV.,  introduced  in 
iv.  3.  He  is  a  rebel,  surrenders  to  Falstaff,  and  is  ordered  to  execu- 
tion at  York  by  Prince  John  of  Lancaster. 

CoUatinus,  husband  of  lAicrcce,  argument  and  I.  7. 

Collatium,  southeast  of  Rome,  scene  of  Lucrece. 

Collector(s),  of  knowledge,  As  You  Like  It,  ii.  7 ;  of  trifles,  As 
You  Like  It,  v.  4;  A  Winter's  Tale,  iv.  2. 

CoUied  (black,  as  in  the  collieries),  3Iidsummer-Nighfs  Dream, 
i.  1 ;  Othello,  ii.  3. 

Collier  (term  of  reproach),  Twelfth  Night,  Hi.  4  ;  Romeo  and 
Juliet,  i.  I 

CoUop  (a  slice  of  flesh ;  figuratively,  a  child),  A  Winter's  Tale,  i. 
f ;  /.  Henry  VI.,  v.  4. 

Colme-Kill  (Colomb's  Cell),  3Iacbeth,  ii.  4.  The  island  Icolm- 
kill  or  lona,  one  of  the  Hebrides,  where  Saint  Colomb  landed  in  the 
sixth  century.  The  cathedral  was  a  burial-place  for  kings.  Forty- 
eight  ScotcTi,  four  Irish,  and  eight  Norwegian  kings,  besides  many 
lords  of  the  isles,  are  said  to  be  buried  there. 

Colossus,  like  a,  Julius  Cmsar,  i.  2 ;  Troilus  and  Cressida,  v.  5. 

Colours,  colourable  (those  not  fast  f ),  Love's  Labour's  Lost,  iv.  2. 

Colt  (trick),  /.  Henry  IV.,  ii.  2. 

Columbine,  Hamlet,  iv.  5.  It  was  emblematic  of  lovers  for- 
saken. 

Combat,  clapper-clawing,  Troilus  and  Oressida.  v.  5 ;  challenge 
to  single,  L  Henry  IV.,  i.  3 ;  v.  1 ;  Troilus  and  Cressida,  i.  3.  See 
Challenges, 

Combined,  combinate  (pledged),  Pleasure  for  Pleasure,  Hi.  1 : 
iv.  3. 

Come  away,  come  away.  Death,  song,  Twelfth  Night,  ii.  4. 


INDEX  TO  SHAKSPERE'S  WORKS.  69 

Come-off  (come  down,  pay),  Merry  Wives  of  Windsor,  iv.  3. 

Come,  thou  m.oiiarch  of  the  vine,  song,  Antony  and  Cleo- 
patra, a.  7. 

Com.e  unto  the  yellow  sands,  song,  The  Tempest,  i.  2. 

Comedy,  the  most  lamentable,  3Iidsummer-Nighfs  Dream,  i.  2  ; 
a  sweet,  iv.  2  ;  catastrophe  of  the  old,  King  Lear,  i.  2. 

Comedy  of  Errors,  the,  might  be  called  a  farce,  so  glaringly 
improbable  are  the  incidents;  was  first  published  in  the  folio  of  1623, 
but  written  long  before,  probably  among  the  earliest  of  the  plays. 
(See  Henry  IV.  of  France.)  It  is  known  to  have  been  acted  at  the 
Christmas  Revels  at  Gray's  Inn  in  1594.  The  plot  is  from  a  transla- 
tion by  W.  W.  (William  Warner)  of  the  "  Menaechmi "  of  Plautus, 
published  in  1595,  but  made  and  circulated  in  manuscript  some  time 
before,  or  from  an  earlier  English  play,  "  The  Historie  of  Error," 
acted  at  Hampton  Court  in  1576.  A  similar  story  is  told  in  Goularb's 
"Admirable  and  Memorable  Histories,"  1607;  and  Dryden's  play, 
"  The  Two  Sosias,"  is  founded  on  that  of  Plautus.  In  the  original 
there  is  but  one  pair  of  twins.  The  play  is  full  of  anachronisms,  and 
the  time  of  action  is  indefinite.  The  scene  is  in  Ephesus,  a  city  that 
had  a  bad  reputation  for  sorcery  and  all  kinds  of  villainy. 

Comet(s),  omens  of  evil.  Taming  of  the  Shrew,  Hi.  2 ;  I.  Henry 
VI.,  i.  1 ;  Hi.  2 ;  Julius  Ccesar,  ii.  2 ;  wondered  at  like  a,  1.  Henry 
IV.,  Hi.  2. 

Comfort,  made  of  losses,  AlVs  Well  that  Ends  Well,  iv.  3 ;  cold. 
King  John,  v.  7 ;  in  heaven,  Richard  II.,  ii.  2 ;  in  thoughts  of 
others'  misfortunes,  Richard  II.,  v.  5 ;  hateful  to  the  despairing, 
Richard  II.,  Hi.  2  ;  too  late,  Henry  VIIL,  iv.  2. 

Comforters,  profitless.  Much  Ado  about  Nothing,  v.  i. 

Cominius,  a  general,  character  in  Coriolanus,  introduced  in  i.  1. 

Commandments,  the  ten,  Measure  for  Measure,  i.  2  ;  (the  fin- 
gers) //.  Henry  VI,  i.  3. 

Commentaries,  Caesar's,  II.  Henry  VI,  iv.  7. 

Com.mentary,  fearful,  is  servitor  to  dull  delay,  Richard  III, 
iv.  3. 

Commission,  Angelo's,  Jleasure  for  Measure,  i.  1;  to  right 
wrongs,  a.  King  John,  ii.  1;  an  altered,  Hamlet,  v.  2. 

Commodity  (law  or  justice).  Merchant  of  Venice,  Hi.  3;  (self- 
interest),  power  of.  King  John,  end  of  act  ii. 

Commons,  the,  love  in  their  purses,  Richard  II.,  ii.  2. 

Commonty  (comedy).  Taming  of  the  Shrew,  induction,  2. 

Commonwealth,  an  ideal,  The  Tempest,  ii.  1.    This  is  taken 


70  INDEX  TO  SHAKSPERE'S  WORKS. 

from  Montaigne ;  the  king's,  Love's  Labour's  Lost,  iv.  1 ;  disease  of 
the,  //.  Henry  1 V.,  iv.  1. 

Companions,  young,  A  Winter'' s  Tale, i. 2;  evil,//.  Henry  IV., 
iv.  4' 

Company  (companion).  All's  Well  that  Ends  Well,  iv.  3. 

Company,  too  lavish  of  one's,  /.  Henry  IV.,  Hi.  2,  "  God  pardon 
i:hee,"  etc. ;  caution  concerning  one's,  /.  Henry  IV.,  ii.  4  ;  IL  Henry 
1  v.,  V.  L 

Comparative  (one  that  makes  comparisons,  a  would-be  wit),  /. 
Henry  IV,,  i,  2 ;  Hi.  2. 

Comparisons,  are  odorous,  Much  Ado  about  Nothing,  Hi.  5. 

Compassed  (circular)  window,  Troilus  and  Cressida,  i.  2. 

Compassion,  ///.  Henry  VL,  i.  4,  had  he  been  slaughterman, 
etc. ;  a  grace  of  the  gods,  Coriolanus,  v.  3. 

Compensations,  for  losses,  All's  Well  that  Ends  Well,  iv.  3 ; 
Richard  III.^  iv.  4,  "  The  liquid  drops,"  etc. ;  Cymbeline,  iv.  2, 
"  Some  falls,"  etc. 

Competency,  advantage  of  a  moderate,  3Ierchant  of  Venice, 
i.2. 

Competitors  (confederates).  Love's  Labour's  Lost,  ii.  1 ;  Twelfth 
Night,  iv.  2. 

Complexion,  fair,  Twelfth  Night,  i.  5,  "  'Tis  beauty  truly  blent," 
etc. ;  a  dark.  Merchant  of  Venice,  ii.  1 ;  Comedy  of  Errors,  Hi.  2 ; 
"  Mislike  me  not  for  my,"  etc.,  Othello,  i.  2 ;  Sonnets  cxxvH.,  cxxx., 
cxxxi.,  cxxxii. 

Compliment(s),  Two  Gentlemen  of  Verona,  H.  4  ',  Love's  Labour's 
Lost,  i.  1 ;  like  the  encounter  of  dog-apes.  As  You  Like  It,  H.  5  ;  ex- 
change of,  As  You  Like  It,  Hi.  2 ;  lowly  feigning  called.  Twelfth 
Night,  Hi.  1 ;  Heaven  walks  on  earth.  Twelfth  Night,  v.  1 ;  A  Win- 
ter's Tale,  iv.  3  or  4.    See  also  Flattery. 

Composition  (what  was  compounded  for),  Pleasure  for  Measure, 
V.  1 ;  (consistency),  Othello,  i.  3. 

Compromise,  inglorious.  King  John,  v.  1 ;  Richard  II.,  ii.  L 

Compt  (judgment),  Othello,  v.  2. 

Comptible  (accountable,  sensitive),  Twelfth  Night,  i.  5. 

Concealment,  like  a  worm  i'  the  bud,  Twelfth  Night,  H.  4' 

Concealments  (mystic  arts),  /.  Henry  IV.,  Hi.  L 

Conceit(s),  winged,  Love's  Labour's  Lost,  v.2;  nearer  death  than 
the  powers.  As  You  Like  It,  ii.  6 ;  derived  from  some  forefather 
grief,  Richard  IL,  ii.  2 ;  strongest  in  weakest  bodies,  Hamlet,  Hi.  4; 
may  rob  the  treasury  of  life,  King  Lear,  iv.  6. 


INDEX  TO  SIIAKSPERE'S  WORKS.  71 

Conclusion,  lame  and  impotent,  Othello,  ii.  1;  a  foregone, 
Othello,  Hi.  3. 

Conclusions  (experiments),  to  try,  Hamlet,  Hi.  4  ;  Cymbeline,  i.  5. 

Concolinel,  Love's  Labour's  Lost,  Hi.  1.  Probably  the  begin- 
ning of  a  forgotten  song. 

Condition  (disposition),  Merchant  of  Venice,  i.  2;  L  Henry 
I V,,  i.  3  ;  (art)  Timon  of  Athens,  i,  L 

Conduct.     See  Behaviour. 

Coney-catching  (poaching,  cheating).  Merry  Wives  of  Windsor, 
i.  1,  3  ;  Taming  of  the  Shrew,  iv.  1 ;  v.  L 

Confect,  Count,  applied  by  Beatrice  to  Benedick,  Much  Ado 
about  Nothing,  iv.  1. 

Confession,  of  Borachio,  31uch  Ado  about  Nothing,  v.  1;  of 
Leontes,  A  Winter^s  Tale,  Hi.  2  ;  exhortation  to,  Richard  IL,  i.  3  ; 
riddling,  Romeo  and  Juliet,  ii,  3. 

Confidence,  in  a  leader,  Julius  Ccesar,  ii.  1;  in  one's  cause, 
Richard  II.,  i.  3 ;  rash,  AlVs  Well  that  Ends  Well,  Hi.  6. 

Confiners  (borderers),  Cymbeline,  iv.  2. 

Confiscation,  threatened,  As  You  Like  It,  Hi.  1 ;  Merchant  of 
Venice,  iv.  1 ;  Comedy  of  Errors,  i.  2  ;  of  John  of  Gaunt's  property, 
Richard  IL,  H.  1. 

Confound  (consume),  I.  Henry  IV.,  i.  3  ;  Coriolanus,  i.  6. 

Confusion,  how  soon  bright  things  come  to,  Midsummer-Nighf s 
Dream,  i.  1;  like  a  raven.  King  John,  iv.  3;  let  confusion  live, 
Timon  of  Athens,  iv.  L 

Conjurer  (exorciser).  Pinch  in  Comedy  of  Errors,  v.  L 

Conqueror,  noise  before  and  tears  behind  a,  Coriolanus,  ii.  1  ; 
afraid  to  speak,  a,  Love's  Labour's  Lost,  v.  2 ;  came  over  with  the, 
Taming  of  the  Shrew,  induction,  i.    Sly  calls  him  Richard. 

Conquest,  a,  with  no  profit  in  but  the  name,  Hamlet,  iv.  4. 

Conrade,  one  of  the  followers  01  Don  John  in  Much  Ado  about 
Nothing,  introduced  in  i.  3. 

Conscience,  The  Tempest,  ii.  1 ;  Hi.  3  ;  examination  of.  Measure 
for  Measure,  H.  2,  3 ;  and  the  fiend,  Mercha?it  of  Venice,  ii.  2 ;  si- 
lenced by  interest,  King  John,  iv.  2 ;  tumult  in.  King  John,  iv.  2 ; 
clog  of,  Richard  IL,  v.  6 ;  a  good,  II.  Henry  IV.,  v.  5 ;  outward, 
Henry  V.,  iv.  i ;  a  corrupted,  II.  Henry  VI.,  Hi.  2,  "  Thrice  is  he 
armed,"  etc. ;  fears  of  a  guilty,  III.  Henry  VI.,  v.  6,  "  The  thief  doth 
fear,"  etc. ;  in  a  purse — makes  cowards,  Richard  III,  i.  4  ;  hath  a 
thousand  tongues — is  a  coward  and  a  word  that  cowards  use,  Richard 
IIL,  V.  3 ;  Q.  tender  place,  Henry  VIIL,  ii.  2 ;  accusations  of,  Henry 


72  INDEX  TO  SHAkSPERE'S  WORKS. 

VIIL,  n.4;  a  still  and  quiet,  Henry  VllL,  Hi.  2  ;  tortures  of,  Mac- 
heth,  Hi.  2  ;  v.  3 ;  those  thorns  that  in  the  bosom  lodge,  Hamlet,  i. 
5  ;  makes  cowards,  Hamlet,  Hi.  1 ;  ii.  4;  sl  fettered,  Cymbeline,  v.  4; 
whose  is  entirely  free,  Othello,  Hi,  3  ;  warning  of,  Lucrece,  1. 190  ;  in 
love,  Sonnet  cli.    See  also  Remorse  and  Guilt. 

Consequence,  yet  hanging  in  the  stars,  Romeo  and  Juliet,  i.  4; 
cannot  be  trammelled  up,  Macbeth,  i.  7. 

Consideration,  Julius  Ccesar,  i.  2 ;  like  an  angel  came,  Henry 
v.,  i.  L 

Consort  (concert),  Two  Gentlemen  of  Verona,  Hi.  2 ;  (company), 
Two  Gentlemen  of  Verona,  iv.  L 

Conspectuities  (perceptions),  Coriolanus,  ii.  1. 

Conspiracies  :  The  Tempest,  ii.  1 ;  of  the  Percys,  1.  Henry  IV,,  i. 
3  ;  iL  3,  4  ;  Hi.  1 ;  iv.  1 ;  against  the  king's  life,  Henry  V.,  H.  2  ;  II. 
Henry  VI.,  i.  If. ;  of  Richard  and  Buckingham,  Richard  III.,  Hi.  1 ; 
against  CcTsar,  Julius  Ccesar,  ii.  1. 

Conspiracy,  beginning  of,  Julius  Ccesar,  i,  2;  in  darkness — 
ripened,  Julius  Ccesar,  ii.  1 ;  popular,  Coriolanus,  Hi.  L 

Conspirators,  Henry  V.,  ii.,  chorus ;  leanness  of,  Julius  Ccesar, 
i.  2 ;  justifying  themselves  and  anticipating  their  fame,  Julius 
Ccesar,  Hi.  1. 

Constable  of  France,  Charles  Delabreth  or  D'Albret,  the,  char- 
acter in  Henry  V.,  first  appears  in  ii.  4-  He  is  perhaps  the  finest 
character  among  the  French  nobles  introduced  into  the  play.  He 
fell  at  Agincourt,  October  25,  1415,  iv.  8. 

Constance  of  Brittany,  mother  of  Arthur  in  King  John,  intro- 
duced in  ii.  1.  After  the  death  of  Geoifrey  Plantagenet,  her  hus- 
band, she  was  married  by  her  father-in-law  against  her  will  to  Ran- 
dal de  Blondeville,  whom  she  afterward  separated  from  and  then 
married  Guy  of  Thouars.  She  died  in  1201,  before  John  gained  pos- 
session of  Arthur,  though  she  is  represented  in  the  play  as  still  liv- 
ing at  that  time  and  still  a  widow.  Dramatically,  Constance  is  a  fine 
character.  Her  whole  nature  is  dominated  by  her  love  for  her  son 
and  her  ambition  for  him.  Without  much  principle  or  any  fairness 
cf  mind,  she  is  impassioned,  imaginative,  and  eloquent  where  his 
rights  are  concerned,  and  some  of  the  highest  strains  of  poetry  in  the 
plays  are  uttered  by  her.  See  especially  the  scolding  scene  between 
her  and  Elinor,  act  ii.,  scene  1,  and  also  act  Hi.,  scenes  1  and  4. 

Constancy,  want  of,  Two  Gentlemen  of  Verona,  v.  4  ;  protesta- 
tion of,  A  Winter's  Tale,  iv.  3  or  4;  v.  1 ;  persistent,  Troilus  and 
Cressida,  i.  3;  Troilus  a  name  for,  Troilus  and   Cressida,  Hi.  2 ; 


INDEX  TO  SHAKSPERE'S  WORKS.  73 

Julius  Ccesar,  in.  1 ;  vows  of,  Cymbeline,  i.  1 ;  of  wives,  Henry 
VIIL,  ii.2 ;  Othello,  iv.  2 ;  Romeo  and  Juliet,  iv.  1.  See  Love,  con- 
stancy IN, 

Constantine,  /.  Henry  VI.,  i.  2. 

Constantinople,  Henry  Y.,  v.  2. 

Consulship,  election  to  the,  Coriolanus,  ii.  2 ,  Hi.  3, 

Consumption,  of  the  purse,  //.  Henry  IV.,  i.  2. 

Contagion,  pretended  fear  of,  Measure  for  Measure,  i.  2. 

Contain  (retain),  Mercha7it  of  Venice,  v.  1. 

Contemporaries,  judging  one's  self  by  his.  Sonnet  xxiL 

Contempt,  consequences  of,  /.  Henry  I V.,  Hi.  1,  "  In  faith,  my 
lord,"  etc. ;  epithets  of,  I.  Henry  IV.,  ii.  4;  III.  Henry  VI,  i.  4. 

Contemptible  (contemptuous),  3Iuch  Ado  about  JSothing,  ii.  3. 

Content,  commend  you  to  your  own.  Comedy  of  Errors,  i.  2 ; 
sleep  of,  //.  Henry  IV.,  iv.  5;  a  life  of.  III.  Henry  VI.,  ii.  5 ;  a. 
crown,  ///.  Henry  VI.,  Hi.  1 ;  lowly  birth  with,  the  best  having, 
Henry  VIII.,  ii.  3 ;  the  best  state,  without,  Timon  of  Athens,  iv. 
3  ;  one's  desire  obtained  without,  Macbeth,  Hi.  2  ;  farewell  to, — with 
poverty,  Othello,  Hi.  3 ;  blessedness  of,  Oymbeline,  i.  7. 

Contention,  broke  loose,  //.  Henry  IV.,  i.  1.    See  Quarrels. 

Continent  (container),  Antony  and  Cleopatra,  iv.  12,  and  else- 
where. 

Contriving  (sojourning),  Antony  and  Cleopatra,  i.  2. 

Con  tutto  il  core,  etc.  (with  all  my  heart,  well  met),  Taming  oj 
the  Shrew,  i.  2. 

Convent,  a,  the  scene  of  Measure  for  Measure,  %.  5. 

Convent  (summon).  Measure  for  Measure,  v.  1 ;  Henry  VIIL, 
V.  1 ;  Coriolanus,  ii.  2 ;  (to  be  convenient),  Twelfth  Night,  v.  i. 

Conversation,  Love's  Labour's  Lost,  v.  1 ;  on  a  journey,  Rich- 
ard II,  ii.  3  ;  soft  parts  of,  Othello,  Hi.  3. 

Convert ites  (converts),  As  You  Lilce  It,  v.  4;  King  John,  v.  1; 
Lucrece,  I.  7/^. 

Convey,  conveyance  (stealing  craft),  3Ierry  Wives  of  Windsor, 
i.  3,  and  elsewhere ;  (manage),  Ki7ig  Lear,  i.  2. 

Convulsions,  caused  by  magic.  The  Tempest,  iv.  L 

Cookery,  fine  Egyptian,  Antony  and  Cleopatra,  ii.  6 ;  Imogen's, 
Cymbeline,  iv.  2. 

Copatain  hat  (sugar-loaf  hat),  Taming  of  the  Shrew,  v.  1. 

Cope  (reward).  Merchant  of  Venice,  v.  1. 

Cophetua,  King,  Love's  Labour's  Lost,  iv.  1 ;  IL  Henry  IV.,  v, 
8 ;  Romeo  and  Juliet,  ii.  1. 


74  INDEX  TO  SHAKSPERE'S  WORKS, 

Copper-spur  (a  prisoner),  Measure  for  Measure,  iv.  3, 
Copy  (burden),  of  conference,  Comedy  of  Errors,  v.  L 
Coram,  used  by  Slender  as  a  title  of  Shallow,  Merry  Wives  of 
Windsor,  i.  1,  eithor  for  quorum,  because  he  was  a  justice  of  quorum, 
or  quoted  like  armigero  from  a  phrase  used  in  warrants,  coram  me 

,  armigero,  before  me ,  knight. 

Coranto,  AlVs  Well  that  Ends  Well,  ii,  3;  Twelfth  Night,  i.  3, 
and  elsewhere.     A  lively  Italian  dance. 

Cord,  charity  of  a  penny,  Cymheline,  v.  J/.. 

Cordelia,  the  youngest  daughter  of  King  Lear.  She  refuses  to 
make  professions  of  love  to  her  father,  as  her  sisters  do,  is  disinher- 
ited, and  betrothed  to  the  King  of  France,  i.  1 ;  returns  with  an 
army  to  restore  her  father.  Hi.  7 ;  iv.  2,  3,  4;  the  battle,  iv.  6,  7 ;  v. 
1,  2  ;  she  is  defeated  and  taken,  v.  2  ;  put  to  death  in  prison,  v.  3. 

"  Everything  in  her  seems  to  lie  beyond  our  view,  and  affects  us 
in  a  manner  which  we  feel  rather  than  perceive.  The  character  ap- 
pears to  have  no  surface,  no  salient  points  upon  which  the  fancy  can 
readily  seize ;  there  is  little  external  development  of  intellect,  less  of 
passion,  and  still  less  of  imagination.  It  is  completely  made  out  in 
the  course  of  a  few  scenes.  ...  It  is  not  to  be  comprehended  at 
once  or  easily.  .  .  .  The  impression  it  leaves  is  beautiful  and  deep, 
but  vague.  Speak  of  Cordelia  to  a  critic  or  to  a  general  reader,  all 
agree  in  the  beauty  of  the  portrait,  for  all  must  feel  it ;  but  when 
we  come  to  details,  I  have  heard  more  various  and  opposite  opinions 
relative  to  her  than  any  other  of  Shakspere's  characters.  .  .  .  What 
is  it,  then,  which,  lends  to  Cordelia  that  peculiar  and  individual  truth 
of  character,  which  distinguishes  her  from  every  other  human  being  % 
It  is  a  natural  reserve,  a  tardiness  of  disposition,  '  which  often  leaves 
the  history  unspoke  which  it  intends  to  do ; '  a  subdued  quietness  of 
deportment  and  expression,  a  veiled  shyness  thrown  over  all  her  emo- 
tions, her  language,  and  her  manner ;  making  the  outward  demon- 
stration invariably  fall  short  of  what  we  know  to  be  the  feeling  with- 
in."— Mrs.  Jamesox. 

Corin,  the  old  shepherd  in  As  You  hike  It,  introduced  in  n.  ^ 
for  whom  Rosalind  and  Celia  buy  his  master's  flock  and  pasture. 

Corinth,  in  Greece,  Comedy  of  Errors,  i.  1 ;  v.  1;  Timon  of 
Athens,  ii.  2. 

Corinthian,  Z  Henry  IV.,  ii.  4.  Slang  for  a  wild  roystering 
fellow. 

Coriolanus,  a  tragedy  first  published  in  1623,  and  from  the  evi- 
dences of  style  supposed  to  have  been  written  at  a  late  period  of  the 
author's  work,  1608-1610.  The  material  was  drawn  from  the  trans- 
lation of  Plutarch  by  Sir  Thomas  North,  many  passages  and  expres- 
sions being  copied  literally,  though  there  are  variations  from  the 


INDEX  TO  SHAKSPERE'S  WORKS,  75 

story.  The  time  of  action  fills  about  four  years — 494  to  490  b.  c.  It 
is  one  of  the  finest  of  the  plays,  dealing  with  the  struggles  between 
the  patricians  and  the  plebeians  of  Rome. 

Coriolanus,  Caius  Marcius,  surnamed,  enters  in  the  first  scene 
of  the  drama  that  bears  his  name.  His  pride  and  disdain  of  the 
poor,  i.  1 ;  bravery,  i.  4, 6, 8. 9  ;  in.  2  ;  his  sincerity.  Hi.  1 ;  wounded, 
^.  5 ;  fights  with  Aufidius,  i.  8  ;  refuses  spoils,  i,  9  ;  receives  his  sur- 
name, i.  9  ;  the  people's  hatred  of  him,  ii.  1 ;  his  triumph  and  wounds, 
ii.  1;  made  consul,  ii.  2 ;  the  tribunes'  treachery,  ii.  3 ;  his  arrest 
and  sentence,  m.  1;  will  not  sue  to  the  people.  Hi.  2 ;  goes  to  Au- 
fidius, iv.  4,  5;  marches  against  Rome,  iv.  6 ;  Aufidius's  opinion  of 
him,  iv.  7  ;  besought  to  return  to  Rome,  v.  1 ;  he  is  accused,  v.  6  ;  his 
death,  v.  6. 

Coriolanus  is  a  noble  and  heroic  character,  ruined  by  his  haughty, 
contemptuous,  unbending  spirit.  When  he  is  banished  he  goes  away 
in  bitterness  and  takes  up  arms  against  his  country,  but  lays  them 
down  at  the  suit  of  his  wife  and  mother.  His  relations  with  them 
form  a  relief  to  his  hateful  pride  of  rank  and  contempt  for  the 
people. 

Corioli,  the  city  taken  by  Coriolanus  from  the  Volscians,  about 
494  B.  c,  act  i.,  scetie  10,  from  which  his  surname  was  taken ;  scene 
of  a  part  of  the  play. 

Cormorant,  the,  allusions  to  its  voracity.  Love's  Labour's  Lost,  i. 
1;  Troilus  and  Oressida,  ii.  2 ;  Coriolanus,  i.  1. 

Cornelia,  mother  of  the  Gracchi,  Titus  Andronieus,  iv.  1. 

Cornelius,  a  courtier  in  Hamlet,  introduced  in  i.  2. 

Cornelius,  a  physician  in  Cymbeline,  introduced  in  i.  5,  to  whom 
the  queen  applies  for  poisons  to  administer  to  Imogen. 

Cornwall,  Duke  of,  Regan's  husband,  ni  Ki7ig  Lear,  introduced 
in  the  first  scene.  He  is  slain  by  his  servant  when  "  going  to  put 
out  the  other  eye  of  Gloucester,"  iv.  2. 

Coronation,  a  second,  King  John,  iv.  2  ;  of  Bolingbroke,  Rich- 
ard II.,  V.  2 ;  procession,  Henry  VIII.,  iv.  1. 

Corpse(s),  like  a  flower-strewn,  A  Winter's  Tale,  iv.  3  ov  4  ;  an 
unhandsome,  /.  Henry  IV.,  i.  3;  decay  of,  Hamlet,  v.  1;  the  sail- 
or's superstition  that  it  is  unlucky  to  have  one  on  board,  Pericles, 
Hi.  1 ;  regarding  one  bleeding;  Richard  III.,  i.  2. 

Correction,  degrading,  Kiiig  Lear,  ii.  2 ;  difficulties  of,  II. 
Henry  IV.,  iv.  1. 

Corruption,  through  bad  company,  I.  Henry  IV.,  i.  2, 

Corruption,  in  Vienna,  Pleasure  for  Measure,  v.  1 ;  wins  not 


76  INDEX  TO  SHAKSPERE'S   WORKS. 

more  than  honesty,  Henry  VIIL,  Hi.  2 ;  honoured  by  the  name  of 
Cassius,  Julius  Cmsar,  iv.  3  ;  rank,  Hamlet,  Hi.  4.   See  also  Bribery. 

Corvinus,  King  of  Hungary,  who  took  Vienna  in  1485,  Measure 
for  Measure,  i.  2. 

Corydon,  lament  of,  Passionate  Pilgrim,  xviii. 

Cost,  fashion  to  avoid.  Much  Ado  aiout  Nothing,  i.  1 ;  counting 
the,  II.  Henry  IV.,  i.  3. 

Costard,  a  clown  in  Love's  Labour's  Lost,  introduced  in  i.  1,  a 
blunderer  in  the  use  of  long  words  in  imitation  of  the  pedantry  of 
his  superiors,  but  blundering  into  some  shrewd  sayings. 

Costumes,  brought  from  France,  Henry  VIIL,  i.  3. 

Coted,  come  to  the  side  of,  Hamlet,  ii.  2. 

Cot-quean,  Romeo  and  Juliet,  iv.  4-  ^  inan  meddling  with 
kitchen  affairs. 

Cotsall,  3Ierry  Wives  of  Windsor,  i.  L    See  Cotswold  man. 

Cotswold  man,  a  (an  athlete),  II.  Henry  IV.,  Hi.  2.  The  Cots- 
wold Hills,  in  Gloucestershire,  were  the  scene  of  rural  sports  on 
Thursday  in  Whitsun-week,  the  Cotswold  games. 

Counsel,  to  the  sorrowing,  Much  Ado  about  Nothing,  v.  1 ;  the 
cripple,  Merchant  of  Venice,  i,  2 ;  friendly,  /.  Henry  VL,  Hi.  1 ;  is 
a  shield,  Richard  III.,  iv.  3;  Christian,  Henry  VIIL,  Hi.  1;  too 
late,  Julius  Ccesar,  ii.  4. ;  two  may  keep,  Romeo  and  Juliet,  ii.  4. 
See  also  Advice. 

Counsellors,  the  winds  truthful,  As  You  Like  It,  H.  1 ;  good, 
lack  no  clients.  Measure  for  Pleasure,  i.  2  ;  love's,  Cymbeline,  Hi.  2. 

Countenance(s),  lay  my,  to  pawn,  Mer.ry  Wives  of  Windsor,  ii. 
2  ;  almost  chide  God  for  making  you  that,  you  are.  As  You  Like  It, 
iv.  1;  one  more  in  sorrow  than  in  anger,  Hamlet,  i.  2. 

Counter.     See  Hunting. 

Counter-caster,  Othello,  i.  L  Allusion  to  the  use  of  counters 
in  casting  accounts. 

Counter-check,  quarrels  in.     See  Duelling. 

Counterfeit,  to  die  is  to  be  a,  /.  Henry  IV.,  v.  4 ;  of  passion, 
Much  Ado  about  Nothing,  ii.  3. 

Counter-gate,  love  to  walk  the  (a  prison-gate).  Merry  Wives  of 
Windsor,  Hi.  3. 

Counterpoints  (counterpanes),  Taming  of  the  Shrew,  H.  L 

Countries,  on  a  fat  woman,  Comedy  of  Errors,  Hi.  2. 

Country,  the,  manner  of,  at  court,  As  You  Like  It,  Hi.  2. 

Country,  an  unsettled,  King  John,  iv.  3  ;  v.  1 ;  the  undiscovered 
Hamlet,  Hi.  1 ;  disease  of  a,  Macbeth,  v.  3.     See  also  Patriotism. 


INDEX  TO  SHAKSPERE'S    WORKS.  77 

Courage,  boasts  of,  Merry  Wives  of  Windsor,  i,  1;  ironical 
praise  for,  Merry  Wives  of  Windsor,  Hi.  1;  boasted,  Merchant  of 
Venice,  ii.  1 ;  Much  Ado  about  Nothing,  i.  1 ;  mounteth  with  occa- 
sion, King  John,  ii.  1 ;  exhortation  to,  King  John,  v.  1 ;  of  feeble, 
11.  Henry  IT.,  Hi.  2 ;  the  dauphin's,  Henry  V.,  Hi.  7;  French 
boasts  of,  Henry  V.,  Hi.  7 ;  iv.  2 ;  prayer  for,  Henry  V.,  iv.  1 ;  of 
Fluellen,  Henry  Y,,  iv.  7 ;  of  the  English,  Henry  V.,  iv.  3 ;  after 
loss,  111.  Henry  VI.,  v.  4;  Coriolanus,  ii.  2,  Hi.  i,  "His  nature  is 
too  noble,"  etc.,  Hi.  3  ;  true,  Timon  of  Athens,  Hi.  5  ;  sticking  point 
of,  Jlacbeth,  i.  7 ;  for  anything  material,  Macbeth,  Hi.  4;  boasts 
of,  Macbeth,  v.  3 ;  Goneril's  boasts  of.  King  Lear,  iv.  2.  See  also 
Bravery  and  Valour. 

Course,  the  holy,  Julius  Ccesar,  i.  2. 

"That  day  [the  feast  Lupercalia]  there  are  divers  noble  mens 
sons,  yong  men,  which  run  naked  through  the  citie,  striking  in  sport 
them  they  meete  in  their  way,  with  leather  thongs,  hair  and  all  on, 
to  make  them  give  place." — North's  "  Plutarch." 

Court,  a  soldier  in  the  king's  army  in  Henry  V.,  who  first  appears 
in  iv.  1. 

Court,  a  beauty  of  the,  Merry  Wives  of  Windsor,  Hi.  3 ;  life  at, 
As  You  Like  It,  ii.  1 ;  All's  Well  that  Ends  Well,  i.  1 ;  Hi.  2  ;  man- 
ners of.  As  You  Like  It,  Hi.  2 ;  All's  Well  that  Ends  Well,  ii.  2 ; 
do  you  take  the  court  for  Paris  garden,  Henry  VIIL,  v.  3  ;  holy- wa- 
ter of  the  (flattery),  King  Lear,  Hi.  2  ;  news  of,  King  Lear,  v.  3 ; 
folly  of  seeking  preferment  at,  Oymbeline,  Hi.  3. 

Court-cupboard  (a  sideboard),  Romeo  and  Juliet,  i.  5. 

Courtenay,  Sir  Edward,  mentioned  in  Richard  III,  iv.  4,  to- 
gether with  his  brother  Peter,  Bishop  of  Exeter. 

Courtesan,  a,  a  character  in  the  Comedy  of  Errors,  iv.  3. 

Courtesy,  advice  concerning,  AlVs  Well  that  Ends  Well,  ii.  1; 
to  an  oyster-wench,  Richard  IL,  i.4;  without  love,  Timon  of 
Athens,  i.  1,  speech  of  Apemantus;  dissembling,  Cymbeline,  i.  2  ; 
to  cover  sin,  Pericles,  i.  1 ;  of  the  wrong  breed,  Hamlet,  Hi.  2. 

Courtier(s),  a  model  for,  AlVs  Well  that  Ends  Well,  i.  1,  2 ;  the 
curse  of  kings  to  be  attended  by.  King  John,  iv.  2 ;  inconstancy  of, 
Richard  IL,  iv.  1;  description  of  a,  I.  Henry  IV.,  i.  3;  discord 
among,  /.  Henry  IV.,  iv.  1;  hypocrisy  of,  Oymbeline,  i.  1;  poor 
wretches,  Oymbeline,  v.  4. 

Courtney,  Sir  Edward,  in  arms,  Richard  III,  iv.  4. 

Courtship.     See  Love  and  Lovers. 

Covent  (old  form  for  convent).  Measure  for  Measure,  iv.  3„ 
6 


78  INDEX  TO  SHAKSPERE'S  WORKS. 

Coventry,  a  city  in  Warwickshire,  and  roads  near,  scene  of  the 
meeting  of  Bolingbroke  and  Norfolk  in  Richard  II.,  of  part  of  i. 
Henry  IV.,  and  III.  Henri/  VI.,  v.  L 

Coventry,  a  mayor  of,  III  Henry  VI.,  v.  1. 

Covetous,  the,  Lucrece,  1. 134. 

Covetousness,  skill  confounded  in.  King  John,  iv.  2. 

Cow,  a  curst,  has  short  horns,  Much  Ado  ahout  Nothmg,  ii.  I 

Cowardice,  hated  by  women,  Two  Oentlemen  of  Verona,  iii.  1 ; 
of  a  parson,  Jlerry  Wives  of  Windsor,  iii.  1 ;  of  preferring  life  to 
honour.  Measure  for  Measure,  iii.  1 ;  refuge  of,  As  You  Like  It,  v^ 
4  ;  AlVs  Well  that  Ends  Well,  i.  1 ;  religious  in.  Twelfth  Night,  iii. 
4 ;  hoxes  (cuts  the  hamstrings  of)  honesty,  A  Winter's  Tale,  i.  2 ;  a 
calf's  skin  for — strong  on  the  stronger  side,  King  John,  iii.  1 ;  in 
the  noble,  Richard  II.,  i.  2 ;  I.  Henry  IV.,  ii,  3,  4  ;  iv.  3  ;  of  sui- 
cide, Romeo  and  Juliet,  iii.  3  ;  the  gods  shame,  Julius  Ccesar,  ii.  2 ; 
accusations  of,  King  Lear,  iv.  2;  self -accusation  of,  Hamlet,  ii.  2  ; 
of  procrastination,  Hamlet,  iv.  4  ',  Antony  and  Cleopatra,  iii.  9  or 
11;  Gymheline,  iii.  6 ;  slanderous.  Much  Ado  about  Nothing,  v.  1; 
Henry  V.,  iv.  5 ;  I.  Henry  VI.,  i.  5 ;  infectious,  ///.  Henry  VI.,  v. 
4;  i.  4- 

Coward(s),  a,  that  hath  drunk.  The  Tempest,  iii.  2 ;  boast  of  a, 
Merry  Wives  of  Windsor,  i.  1;  Merchant  of  Venice,  iii.  2;  with 
martial  outside,  As  You  Like  It,  i.  3 ;  a,  high-born,  Taming  of  the 
Shrew,  induction,  2 ;  description  of  a,  AlVs  Well  that  Ends  Well, 
iii.  6  ;  iv.  3 ;  the  gift  of  a.  Twelfth  Night,  i.  3  ;  like  the  hare  in  the 
proverb,  King  John,  ii.  1;  three,  I.  Henry  IV.,  i.2;  on  instinct  a,  I. 
Henry  IV.,  ii.  4;  description  of  a,  Henry  V.,  iii.  2 ;  iv.  3 ;  souls  of 
geese,  Coriolanus,  i.  4,  6 ;  die  many  times,  Julius  Ccesar,  ii.  2 ;  to 
live  a,  Macbeth,  i.  7  ;  made  by  tailors.  King  Lear,  ii.  2  ;  milk-livered, 
King  Lear,  iv.  2 ;  bred  by  plenty,  Cymbeline,  iii.  6 ;  father  cow- 
ards, Cymbeline,  iv.  2 ;  brave  by  example,  Cymbeline,  v.  3. 

Cowish  (cowardly).  King  Lear,  iv.  2. 

Cowl-staff  (for  carrying  a  burden  on  the  shoulders  of  two  men), 
Merry  Wives  of  Windsor,  iii.  3. 

Cowslips,  The  Tempest,  v.  1,  song ;  3Iidsummer-Night'' s  Dream^ 
ii.  1 ;  freckled,  Henry  V..  v.  2  ;  Cymbeline,  ii.  2. 

Coxcombs.     See  Dandy. 

Coyness,  Much  Ado  about  Nothing,  iii,  L 

Coystril  (an  army-follower),  Twelfth  Night,  ii.  3. 

Cozened,  would  all  the  world  might  be.  Merry  Wives  of  Wind- 
sor, iv.  5, 


INDEX   TO  SHAKSPERE'S  WORKS.  79 

Coziers  (botchers),  Twelfth  Night,  ii.  3. 

Crab,  name  of  a  dog,  Two  Gentlemen  of  Verona,  ii.  3. 

Crab,  backward  like  a,  Hamlet,  ii.  2. 

Crabs  (apples),  roasted,  Love's  Labour's  Lost,  v.  2 ;  Midsum- 
mer-Night's Dream,  ii.  1.  A  favourite  drink  for  winter  nights,  espe- 
cially at  Christmas-time,  was  ''  lamb's  wool,"  made  of  ale  with  crabs 
roasted  in  it,  and  flavoured  with  nutmeg. 

Crack  of  jioom,  Macbeth,  iv.  L 

Crack  (a  bold  boy),  Coriolanus,  i.  3  ;  IL  Henry  IV.,  Hi.  2. 

Crack  (to  load),  Macbeth,  i.  2. 

Cracker  (a  braggart).  King  John,  ii.  1. 

Crack-hemp  (gallows-bird).  Taming  of  the  Shrew,  v.  1. 

Craft,  richer  than  innocency.  Measure  for  Measure,  Hi,  2 ;  de- 
nunciation of.  Twelfth  Night,  v.  1 ;  of  the  fox,  III.  Henry  VI.,  iv. 
7 ;  met  with  craft.  Hamlet,  Hi.  If.,  end. 

Craftsmen,  wooed  with  craft,  Richard  IL,  i.  4. 

Cramps,  invoked  by  magic,  The  Tempest,  iv.  1 ;  v.  L 

Crants  {Krantz,  garlands),  Hamlet,  v.  1.  The  only  instance 
known  of  the  use  of  the  word  in  English. 

Cranmer,  Thomas,  Archbishop  of  Canterbury,  character  in  Hen- 
ry VIIL,  introduced  in  v.  1 ;  spoken  of  by  Henry,  ii.  4,  end ;  his 
zeal  for  the  divorce.  Hi.  2  ;  &  heretic,  Hi.  2  ;  his  accusation  by  Gardi- 
ner and  interview  with  the  king,  v.  1 ;  disgraced  and  tried  for  heresy, 
and  championed  by  the  king,  v.  2 ;  the  popular  opinion  of,  v.  2  ;  his 
prophecy  concerning  Elizabeth,  v.  If..  He  was  put  to  death  in  1556, 
(aet.  sixty-six)  during  the  reign  of  Mary,  who  hated  him  both  as  a 
Protestant  and  for  his  agency  in  the  divorce  of  her  mother. 

Crare  (or  crayer,  a  small,,  clumsy  ship),  Cymbeline,  iv.  2. 

Crassus,  a  gentleman  mentioned  in  Measure  for  Measure,  iv.  5. 

Crassus,  Marcus,  his  death  avenged,  Antony  and  Cleopatra, 
Hi.  1. 

Crecy,  battle  of  (Aug.  3,  1346),  mentioned,  Henry  V.,  i.  2 ;  ii.  4. 

Credent  (unquestionable).  Measure  for  Measure,  iv.  4. 

Credit  (credulity),  Comedy  of  Errors,  Hi.  2. 

Credit,  give  no,  Henry  V.,  ii.  3. 

Creditor(s),  duns  of,  Timon  of  Athens,  H.  1,  2  ;  Hi.  4  ;  nature  a, 
Measure  for  Measure,  i.  L 

Credulity,  Othello,  iv.  4 ;  Antony  and  Cleopatra,  v.  5 ;  Cymbe- 
line, V.  5. 

Cressets  (torches),  I.  Henry  IV..  Hi.  1. 

Cressida,  daughter  of  Calchas,  heroine  of  Troilus  and  Cressida^ 


80  INDEX  TO  SIIAKSPERE'S  WORKS. 

first  appears  in  i.  2.  In  her,  Coleridge  says,  Shakspere  "  has  drawn 
the  portrait  of  a  vehement  passion,  that,  having  its  true  origin  and 
proper  cause  in  warmth  of  temperament,  fastens  on,  rather  than 
fixes  to,  some  one  object  by  liking  and  temporary  preference."  Cres- 
sida  is  introduced  in  i.  2  of  Troilus  and  Cressida.  Her  beauty 
and  wit,  i.  1.  She  is  exchanged  {iv.  1,  2,  3)  for  Antenor  and  sent  to 
the  Greek  camp;  forgets  Troilus  and  loves  Diomedes.  Ulyssee 
divines  her  character,  iv.  5;  her  inconstancy  discovered  by  Troi- 
lus, V.  2.  She  is  artful  and  coquettish,  passionate  but  not  affection- 
ate, and  therefore  ardent  and  inconstant.  Ulysses  says  of  her : 
"...  Her  wanton  spirits  look  out 
At  every  joint  and  motive  of  her  body." 

Allusion?  to  Cressida:  Cressida's  uncle  (Pandarus),  AlVs  Well 
that  Ends  Well,  it.  1;  Cressida  to  this  Troilus,  Twelfth  Night,  Hi.  1. 

Cressy.     See  Crecy. 

Crest,  the  devil's.  Measure  for  Measure,  ii.  4 ,'  prouder  than  blue 
Iris,  Troilus  and  Cressida,  i.  3. 

Crete,  the  desperate  sire  of,  7.  Henry  VI.,  iv.  6  ;  fool  of.  III.  Hen- 
ry VI.,  V.  6.  Daedalus,  who  made  wings  for  himself  and  his  son 
Icarus. 

Crickets,  merry  as,  I.  Henry  IV.,  ii.  4  /  cry  of,  ominous,  Mac- 
beth, ii.  2 ;  song  of,  at  night,  Cymbeline,  ii.  2. 

Crime,  suggestions  of,  The  Tempest,  ii.  1 ;  Hi.  2,  3 ;  petty.  Two 
Gentlemen  of  Verona,  iv.  1 ;  unpunished.  Measure  for  Measure,  i.  4  ; 
cherished  by  virtues,  AlVs  Well  that  Ends  Well,  iv.  3 ;  plans  for.  As 
You  Like  It,  i.  1 ;  ii.  3  ;  A  Winter's  Tale,  i.  2  ;  hints  for.  King  John, 
Hi.  3  ;  effects  of.  King  John,  Hi.  4  ',  results  of  declaring  the  purpose 
to  commit  and  the  sight  of  means,  King  John,  iv.  2  ;  not  inherited, 
Timon  of  Athens,  v.  5  ;  the  mind  before  a,  Julius  Ccesar,  ii.  1 ;  first 
suggestion  of,  Macbeth,  i.  3 ;  for  naught,  Macbeth,  Hi.  1 ;  to  se- 
cure results  of  crime,  Macbeth,  Hi.  2,  4  ;  will  out,  Hamlet,  i.  2,  end , 
a  gross,  Hamlet,  Hi.  4 ;  revelations  of.  King  Lear,  Hi.  2 ;  planned, 
King  Lear,  iv.  6 ;  accusation  of,  Othello,  i.  3 ;  time  for  shrift  of, 
Othello,  V.  2. 

Crisis,  the,  King  John,  Hi.  4 ;  Macbeth,  iv.  2,  "  Things  at  the 
worst,"  etc. 

Crispian  (Crispin  and  Crispianus),  Saint,  feast  of,  October  25th5 
Henry  V.,  iv.  3.  Saint  Crispin  made  shoes  to  render  himself  inde- 
pendent while  preaching  Christianity,  and  is  the  tutelar  saint  of 
shoemakers. 

Critical,  nothing  if  not,  Othello,  ii.  1, 


INDEX  TO  SHAKSPERE'S  WORKS.  81 

Criticism,  on  men,  Much  Ado  about  Nothing^  Hi.  1. 

Critics,  satire  on.  Love's  Labour's  Lost,  iv.  2,  speech  of  Holofer- 
nes,  near  the  end. 

Croaker,  a,  Troilus  and  Cressida,  v.  2. 

Crocodile,  the  mournful,  IL  Henry  VL,  in.  1 ;  Antony's  de- 
scription of  the,  Antony  and  Cleopatra,  ii.  7 ;  tears  of  the,  Othello, 
iv.  1 ;  eat  a,  Hamlet,  v.  1. 

Cromer,  Sir  James,  //.  Henry  VL,  iv.  7. 

Cromwell,  Thomas,  subordinate  of  Wolsey  in  Henry  VIIL,  in- 
troduced in  Hi.  2.  Wolsey's  advice  to  him,  Hi.  2  ;  preferments  of, 
iv.  1 ;  V.  L  He  entered  Parliament  and  defended  Wolsey ;  the  king 
made  him  Earl  of  Essex,  and  he  became  chancellor  and  vicar-gen- 
eral. He  was  the  most  influential  adviser  of  the  king,  and  it  was 
through  his  policy  that  the  Church  of  England  separated  from  the 
Papacy.  After  Henry's  marriage  with  Anne  of  Cleves,  however, 
which  he  brought  about,  he  fell  in  favour,  and  was  finally  arrested 
on  a  charge  of  treason  and  beheaded  in  1540. 

Crosby  Place,  Richard  III.,  i.  2,  3.  A  house  still  standing  in 
Bishopsgate  Street,  London. 

Cross,  the  bitter,  /.  Henry  IV.,  i.  1 ;  you  Pilates  have  delivered 
me  to  my,  Richard  IL,  iv.  1. 

Crosses,  wayside,  Merchant  of  Venice,  v.  1 ;  (coins  which  had 
crosses  on  the  back).  Love's  Labour's  Lost,  i.  2. 

Cross-row,  the  alphabet  in  the  primer,  called  so  because  headed 
by  a  cross,  Richard  III,  i.  1. 

Cross- ways,  suicides  buried  at,  where  stakes  were  driven  through 
the  bodies,  Midsummer-Night's  Dream,  Hi.  2. 

Crow(s),  singing  of  the.  Merchant  of  Venice,  v.  1 ;  over  a  battle- 
field, He-.iry  V.,  iv.  2 ;  ominous,  Julius  Cmsar,  v.  1 ;  3IacbetJi,  Hi.  2; 
Troilus  and  Cressida,  iv.  2 ;  the  treble-dated,  the  Phoenix  and  the 
Turtle. 

Crow-flowers,  Hamlet,  iv.  7.  Said  to  have  been  the  ragged 
robin. 

Crow-keeper,  Romeo  and  Juliet,  i.  If.;  King  Lear,  iv.  6.  A 
man  or  boy  who  drives  crows  from  fields,  or  a  scarecrow. 

Crowd,  a,  foolishness  of.  Measure  for  Measure,  i.  4  ;  in  London, 
Henry  VIIL,  v.  4. 

Crown,  the  imperial,  A  Winter's  Tale,  iv.  3  or  4 ;  cares  go  with 
— like  a  well — resigning  a,  Richard  II.,  iv.  1 ;  uneasy  lies  the  head 
that  wears  a,  //.  Henry  IV.,  Hi.  1 ;  an  ill-gotten — weight  of  a — the 
prince  takes  the,  //.  Henry  1  V.,  iv.  4  ;  would  the,  were  red-hot  steel, 


8^  INDEX  TO  SHAKSPERE'S  WORKS. 

Richard  III.,  iv.  1.  This  may  be  an  allusion  to  the  punishment  oi 
a  burning  crown  for  regicides  and  usurpers.  Sweet  to  wear,  III. 
Henry  FZ,  i.  2 ;  for  York,  III.  Henry  VI.,  i.  4;  of  content,  ///. 
Henry  VI,  Hi.  1 ;  ambition  for,  IIL  Henry  VI.,  Hi.  2;  offered, 
Julius  Ccesar,  i.  2 ;  Hi.  2 ;  might  change  the  nature,  Julius  Cmsar, 
ii.  1;  gift  of  a.  King  Lear,  i.  1,  4;  a  thousand  flatterers  in  a,  Rich- 
ard II.,  ii.  1 ;  Hi.  2,  3 ;  a  fruitless,  Macbeth,  Hi.  1. 

Crowner  (coroner),  Twelfth  Night,  i.  5  ;  Hamlet,  v.  1. 

Crucifixion  of  Christ,  the,  I.  Henry  IV.,  i.  1. 

Cruels  (cruelties),  King  Lear,  Hi.  7. 

Cruelty,  3Ierchant  of  Venice,  iv.  1,  "  A  stony  adversary,"  etc. ; 
prayer  for,  Macbeth,  i.  5  ;  Hamlet,  Hi.  2,  4 ;  in  a  woman,  ///.  Hen- 
ry VI.,  i.  4>  "  0  tiger's  heart,"  etc. ;  inhuman,  King  Lear,  Hi.  7, 
"  Because  I  would  not  see,"  etc. ;  toward  Lear,  iv.  7 ;  to  the  falling, 
Henry  VIII.,  v.  2;  Othello,  v.  2. 

Crusades,  the,  Richard  II,  iv.  1 ;  I.  Henry  IV.,  i.  1;  II.  Henry 
IV.,  Hi.  1 ;  iv.  4. 

Crusadoes  (Portuguese  coins  of  gold  stamped  with  a  cross), 
Otliello,  Hi.  4. 

Cry,  They  come,  Macbeth,  v.  5 ;  you  and  your,  Coriolanus,  iv.  6  ; 
of  players,  a,  Hamlet,  Hi.  2.  A  cry  was  a  pack  of  hounds ;  aim  (give 
encouragement),  Merry  Wives  of  Windsor,  Hi.  2. 

Cubiculo  (chamber,  lodging).  Twelfth  Night,  Hi.  2. 

Cuckold(s),  Jlerry  Wives  of  Windsor,  ii.  2 ;  Hi.  5 ;  v.  5 ;  Meas- 
ure for  Measure,  v.  1 ;  Much  Ado  about  Nothing,  ii.  1 ;  Merchant 
of  Venice,  v.  1 ;  All's  Well  that  Ends  Well,  i.  3 ;  A  Winter's  Tale, 
i.  2 ;  Coriolanus,  iv.  5 ;  Antony  and  Cleopatra,  i.  2 ;  Troilus  and 
Cressida,  iv.  1;  Cymbeline,  ii.  4>  Othello,  Hi.  3 ;  iv.  3 ;  calamity 
the  only  true,  Twelfth  Night,  i.  5. 

Cuckoo,  the.  Merry  Wives  of  Windsor,  H.  1 ;  Love's  Labour's 
Lost,  V.  2,  song  ;  voice  of,  Midsummer- Night's  Dream,  Hi.  1 ;  Mer- 
chant of  Venice,  v.  1 ;  in  June,  /.  Henry  IV.,  Hi.  2  ;  in  the  sparrow's 
nest,  I.  Henry  IV.,  v.  1 ;  Antony  and  Cleopatra,  ii.  6  ;  King  Lear, 
i.  4 ;  sings  in  kind,  ^.^^5  Well  that  Ends  Well,  H.  1. 

Cuckoo-buds,  Love's  Labour's  Lost,  v.  2.  Variously  supposed 
to  be  the  cowslip,  crowfoot,  and  pile- wort. 

Cuckoo-flower,  King  Lear,  iv.  4.     Probably  ragged  robin. 

Cucullus  non  facit  monachum  (the  cowl  does  not  make  the 
monk),  31easure  for  Measure,  v.  1 ;  Twelfth  Night,  i.  5. 

Cullion,  -ly  (scullion),  Taming  of  the  Shrew,  iv.  2  ;  King  Lear, 
ii,  2  ;  Henry  V.,  Hi.  2. ;  II.  Henry  VI.,  i.  3. 


INDEX  TO  SHAKSPERE'S  WORKS.  83 

Cum  privilegio,  etc.,  the  words  of  an  old  grant  of  privilege 
for  printing  a  book  with  the  sole  right  of  putting  to  press,  Taming 
of  the  Shrew,  iv.  4. 

Ciuming,  bashful,  The  Tempest,  Hi.  1 ;  skilled,  Taming  of  the 
Shrew,  i.  1;  ii.  1 ;  to  be  strange,  Romeo  and  Juliet,  ii.  2 ;  plaited. 
King  Lear,  i.  1;  errs  in  ignorance,  not  in,  Othello,  Hi.  3. 

Cupid,  introduced  as  a  character  in  Timon  of  Athens,  i.  2. 

Cupid,  foiled.  The  Tempest,  iv.  1 ;  Merry  Wives  of  Windsor,  v. 
5 ;  challenged.  Much  Ado  about  Nothing,  i.   1 ;    ii.  1 ;  iii»  1, 
Love's  Labour's  Lost,  i.  2 ;  ii.  1 ;  iiji.  1;  iv.  3 ;  v.  2 ;  Midsummer- 
NigMs  Dream,  i.  1 ;  ii.  1,  2 ;  Hi.  2 ;  Merchant  of  Venice,  ii.  6.  9 
As  You  Like  It,  iv.  1,  end  ;  ATVs  Well  that  Ends  Well,  i.  1 ;  Hi.  2 
Troilus  and  Cressida,  Hi.  2,  3 ;  Romeo  and  Juliet,  i.  1,  4, ;  ii.  1,  5 
Othello,  i.  3 ;  King  Lear,  iv.  6 ;  his  brand  in  a  boiling  spring.  Son- 
nets cliii.,  cliv. 

Cur(s),  small,  /.  Henry  VI.,  Hi.  1 ;  bark  when  their  fellows  do, 
Henry  VIII.,  ii.  4 ;  that  like  nor  peace  nor  war,  Coriolanus,  i.  1 ; 
Casca  like  a,  Julius  C(Esar,  v.  1 ;  Ajax  and  Achilles,  Troilus  and 
Cressida,  v.  4' 

Curan,  a  courtier  in  King  Lear,  introduced  in  ii.  L 

Curds  and  cream,  queen  of,  A  Winter's  Tale,  iv.  3  or  4. 

Curfew,  the  solemn.  The  Tempest,  v.  1 ;  Measure  for  Measure, 
iv.  2 ;  Romeo  and  Juliet,  iv.  4 — a  slip  for  matin,  probably. 

Curio,  a  gentleman  attending  on  the  duke  in  Twelfth  Night,  in- 
troduced in  the  first  scene,  an  unimportant  character. 

Curiosity,  woman's.  Two  Gentlemen  of  Verona,  i.  2 ;  As  You 
Like  It,  Hi.  2 ;  (exact  scrutiny),  King  Lear,  i.  1;  (fastidiousness), 
Timon  of  Athens,  iv.  3  ;  (fine  distinctions).  King  Lear,  i.  2. 

Current(s),  course  of  an  unhindered,  Two  Gentlemen  of  Verona, 
ii.  7 ;  corrupted,  of  this  world,  Hamlet,  Hi.  3 ;  of  the  sea,  Othello, 
Hi.  3. 

Curses,  on  Prospero,  The  Tempest,  ii.  2 ;  of  the  church,  King 
John,  Hi.  1,  3 ;  for  murder,  King  John,  iv.  3 ;  on  Judases,  Richard 
IL,  Hi.  2  ;  of  Suffolk — recoil  of,  II.  Henry  VI.,  Hi.  2  ;  v.  1 ;  Anne's, 
Richard  III,  i.  2 ;  Margaret's,  Richard  III.,  i.  3 ;  Hi.  3,  4;  iv.  1; 
teaching  of,  Richard  III,  iv.  4  ;  of  a,  mother  on  her  son,  Richard 
III,  iv.  4;  York's  on  Margaret,  Richard  III.,  i.  3 ;  of  Thersites, 
Troilus  and  Cressida,  v.  1 ;  on  Romans,  Coriolanus,  i.  4 ,'  i^-  -?>  ^  >' 
Timon  of  Athens,  Hi.  6  ;  iv.  1,  3  ;  Julius  Ccesar,  Hi.  1 ;  not  loud  but 
deep,  Macbeth,  v.  2 ;  a  father's.  King  Lear,  i.  1,  4;  ii.  4;  on  a  liar, 
Othello,  V.  2  ;  Diicrece,  I.  967.    See  also  Maledictions. 


84  INDEX  TO  SHAKSPERE'S   WORKS. 

Curst  (cross,  scolding,  ill-tempered).  Two  Gentlemen  of  Verona, 
Hi.  1 ;  Taming  of  the  Shreiv,  i.  1,  2 ;  Richard  III.,  i.  2 ;  and  oth- 
ers. 

Curtal,  name  of  a  horse,  AlVs  Well  that  Ends  Well,  ii.  3. 

Curtal  dog  (curtail),  a.  Merry  Wives  of  Windsor,  ii.  1. 

Curtis,  one  of  the  servants  of  Petruchio  in  the  Taming  of  the 
Shreiv,  introduced  in  iv.  1. 

Curtle-axe  (cutlass),  As  You  Like  It,  i.  3. 

Custard,  leaped  into  the,  AWs  Well  that  E7ids  Well,  ii.  5. 
An  allusion  to  the  custom  of  having  a  clown  leap  into  a  custard  at  a 
feast. 

Custard  cofB.n  (the  crust  of  a  pie  was  called  a  coffin),  Taming 
of  the  Shrew,  iv.  2. 

Custoni(s),  if  obeyed  in  all  things,  Goriolanus,  ii.  3  ;  one  honoured 
in  the  breach,  Hamlet,  i.  4  ;  that  monster,  Hamlet,  Hi.  4. ;  makes  in- 
sensible, Hamlet,  v.  1 ;  nice,  courtesy  to  kings,  Hamlet,  v.  2 ;  the 
plague  of,  King  Lear,  i.  2 ;  new,  Henry  VIII.,  i.  3.  See  Habit, 
Fashion. 

Cut,  the  unkindest,  Jidiiis  Ccesar,  Hi.  2. 

Cut,  Twelfth  Night,  ii.  3.     A  name  applied  to  a  horse. 

Cut  and  long  tail  (short-  and  long-tailed  dogs — that  is,  people 
of  all  ranks).  Merry  Wives  of  Windsor,  Hi.  4. 

Cutpurse,  requisites  for  a,  A  Winter's  Tale,  iv.  3  or  4. 

Cuttle,  play  the  saucy,  II.  Henry  IV.,  ii.  4.  Perhaps  an  allu- 
sion to  the  cuttle-fish,  which  hides  itself  by  throwing  out  a  black 
juice  from  its  mouth. 

Cyclops,  Titus  Andronicus,  iv.  3  ;  Hamlet,  ii.  2. 

Cy dnus  River,  the,  in  Cilicia,  Antotiy  and  Cleopatra,  ii.  2  ;  v. 
2  ;  Gymheline,  ii.  4' 

Cymbals,  Goriolanus,  v.  4. 

Cymbeline,  a  play  classed  with  the  tragedies,  though  not  tragic 
in  its  ending.  It  was  first  printed  in  1623,  and  is  supposed  to  have 
been  written  in  1609  or  1610.  The  historic  material  for  it,  that 
regarding  the  Roman  tribute,  is  taken  from  Holinshed.  The  story 
of  Posthumus  and  his  wife  is  from  one  of  the  novels  of  the  "  De- 
cameron." The  time,  as  nearly  as  can  be  determined  of  a  play  that 
utterly  disregards  consistency  in  time  as  well  as  in  other  regards,  is 
shortly  before  the  Christian  era.  The  vision  or  dream  of  Posthumus, 
in  iv.  4,  is  supposed  to  be  by  some  other  hand  than  Shakspere's. 
Hazlitt  calls  Gymheline  "  one  of  the  most  delightful  of  Shakspere's 
historical  plays,"  and  Swinburne  says  of  it,  "  I  may  say  I  have  always 


INDEX  TO  SHAKSPERE'S   WORKS.  85 

/oved  this  one  above  all  other  children  of  Shakspere."  The  greatest 
charm  of  the  play  is  in  the  character  of  Imogen. 

Cymbeline,  King  of  Britain,  first  appears  in  the  drama  that 
bears  his  name,  toward  the  close  of  the  first  scene.  He  is  weak,  and 
entirely  under  the  influence  of  his  queen. 

Cynic(s),  Timcn  and  Apemantus  in  Timon  of  Athens  ;  curses  of 
a,  Timmi  of  Athens,  iv.  1,  3 ;  quarrel  of,  Timon  of  Athens,  iv.  3  ; 
epitaph  on  a,  Timon  of  Athens,  v.  4 ,'  vile  rhymes  of  a,  Julius  Ccesar, 
iv.  3. 

Cynicism,  of  Cassius,  Julius  Ccesar,  i.  2,  "  I  do  not  know  the 
man,"  etc. ;  Sonnet  Ixvi. 

Cynthia,  Venus  and  Adonis,  I.  727.    The  moon,  or  Diana. 

Cypress,  let  me  be  laid  in,  Twelfth  Night,  ii.  4.  Coflins  were 
made  of  cypress-wood. 

Cyprus,  an  island  in  the  Mediterranean,  scene  of  the  last  four 
acts  of  Othello. 

Cyprus  (a  veil  of  crape).  Twelfth  Night,  Hi.  1. 

Cytherea  (Venus),  Taming  of  the  Shrew,  induction,  2  ;  A  Win- 
ter's Tale,  iv.  3  ov  4;  Cymbeline,  ii.  2 ;  Passionate  Pilgrim,  iv.,  vi., 
ix.,  xi. 

Daff  (doff,  put  off).  Much  Ado  about  Nothing,  v.  1 ;  Othello,  iv.  2. 

Daffodils,  A  Winter's  Tale,  iv.  3,  4. 

Dagger(s),  a  phantom,  Macbeth,  ii.  1 ;  %ii.  4 ;  in  thoughts,  II. 
Henry  IV.,  iv.  4;  speak,  Hamlet,  %ii.  2 ;  worn  in  the  mouth,  Cym- 
beline, iv.  2. 

Dagonet,  Sir,  King  Arthur's  jester,  whom  he  made  a  knight, 
IL  Henry  IV.,  Hi.  2. 

Daintry  (Daventry  in  Northamptonshire),  III.  Henry  VI.,  v.  1. 

Daisies,  pied,  Love's  Labour's  Lost,  v.  2. 

Dalliance,  The  Tempest,  iv.  1 ;  the  primrose  path  of,  Hamlet, 
i.  3 ;  in  time  of  action,  /.  Henry  IV.,  v.  2 ;  Troilus  and  Cressida, 
Hi.  3 ;  Othello,  i.  3. 

Dalmatians,  Cymbeline,  Hi.  1,  7. 

Damascus,  in  Syria,  I.  Henry  VI.,  i.  3.  Damascus  was  said  to 
be  on  the  spot  wliere  Cain  killed  Abel. 

Damnation,  31erry  Wives  of  Windsor,  Hi.  2 ;  Much  Ado  about 
Nothing,  iv.  1 ;  King  John,  iv.  2 ;  OtJiello,  Hi.  3 ;  a,  more  delicate 
way  than  by  drowiiing,  Othello,  i.  3  ;  ancient,  Romeo  and  Juliet,  Hi. 
8 ;  by  not  being  at  court,  As  You  Lil'e  It,  Hi.  2 ;  no  warrant  can 
defend  from,  Richard  III.,  i.  4  ;  of  his  taking  off,  3Iacbeth,  i.  7. 


86  INDEX  TO  SHAKSPERE'S  WORKS. 


Damned,  torment  for  the.  The 

Damon,  Hamlet,  iii.  2.     Applied  to  Horatio. 

Dances,  Bergomask,  Midsummer -NigMs  Dream,  v.  1.  See 
Brawl,  Canary,  Cinque-Pace,  Coranto,  Hay,  Jig,  Lavolta,  Meas- 
ure, Pa  VAN,  Roundel,  Sword-Dance,  Trip-and-Go,  Upspring. 

Dances,  of  shepherds,  A  Winter's  Tale,  iv.  3  or  ^. 

Dancing,  Twelfth  Night,  i.  3  ;  A  Winter's  Tale,  iv.  3  or  4  ;  Ro- 
meo and  Juliet,  i.  5  ;   Venus  and  Adonis,  I.  I4.6. 

Dandy(ies),  a,  Love's  Labour's  Lost,  i.  1 ;  iv.  3 ;  v.  2,  "  This  is 
he  that,"  etc. ;  Hotspur's  description  of  a,  /.  Henry  IV.,  i.  3,  "  He 
was  perfumed,"  etc.,  Hamlet,  v.  2 ;  Othello,  v.  2. 

Danes,  drinking  habits  of  tlie,  Hamlet,  i.  4  ;  Othello,  ii.  3. 

Danger,  makes  unscrupulous,  King  John,  iii.  4 ;  Richard  II., 
ii.  1 ;  the  nettle,  I.  Henry  IV.,  ii.  3 ;  of  the  great,  Richard  HI.,  i. 
3,  "  They  that  stand  high,"  etc. ;  subtly  taints,  Troilus  and  Cressida, 
iii.  3  ;  more  dangerous  than,  Julius  Coesar,  ii.  2  ;  in,  of  the  scotched 
snake,  Macbeth,  iii.  2 ;  to  be  too  busy  is  some,  Hamlet,  iii.  4;  de- 
viseth  shifts,  Venus  and  Adonis,  I.  690  ;  lurking,  I.  Henry  VL,  v.  3  ; 
II.  Henry  VL,  iii.  1 ;  of  pride  when  in  power,  Troilus  and  Oressida, 
i.  3.    See  Omens. 

Daniel,  a,  come  to  judgment.  Merchant  of  Venice,  iv.  L 

Danskers  (Danes),  Hamlet,  ii.  1. 

Dante,  imagery  reminding  of,  Pleasure  for  Measure,  iii.  1,  "  To 
bathe  in  fiery  floods,"  etc. 

Daphne,  the  nymph  that  was  changed  into  a  laurel-tree  when 
flying  from  Apollo,  Taming  of  the  Shrew,  induction,  2 ;  Midsum- 
mer-Night's Dream,  ii.  L 

Dardan  (Troy,  Trojan),  Lucrece,  1. 1436  ;  Dardanian  wives.  Mer- 
chant of  Venice,  iii.  2. 

Dardanius,  a  servant  of  Brutus  in  Julius  Ccesar,  appears  in 
V.6. 

Daring,  becoming  a  man,  Macbeth,  i.  7 ;  of  an  adventurous 
spirit,  /.  Henry  IV.,  i.  3  ;  damnation,  Hamlet,  iv.  5. 

Darius,  King  of  Persia,  7.  Henry  VL,  i.  5. 

Darkness,  makes  hearing  more  acute.  Midsummer  -  Night' s 
Dream,  iii.  2. 

Darlings,  curled,  Othello,  i.  2. 

Darnel,  I.  Henry  VL,  Hi.  2 ;  King  Lear,  iv.  4;  Henry  V.,  v.  2. 

Darraign  (arrange),  II.  Henry  VL,  ii.  2. 

Dartford,  a  town  in  Kent,  seventeen  miles  from  London,  II. 
Henry  VL,  v.  1. 


INDEX  TO  SHAKSPERE'S  WORKS.  87 

Datchet  -  mead  (iDleaching-place),  Merry  Wives  of  Windsor, 
Hi.  3.     Datchet  is  a  hamlet  adjoining  Windsor. 

Dates,  pies  oi,AlVs  Well  that  Ends  Well,  i.  1;  Troilus  and 
Cress  i da,  i.  2. 

Dates  at  which  the  plays  were  written  and  published.  See  Or- 
der AXD  Dates. 

Daub  (keep  up  the  pretence),  King  Lear,  iv.  1. 

Daugliter(s),  still  harping  on  my,  Hamlet,  ii.  2 ;  unkind,  King 
Lear,  ii.  4  ;  Hi.  4 ;  trust  not,  Othello,  i.  1. 

Dauphin,  the  (afterward  Louis  VIII.),  treachery  of.  King  John, 
V.  4.    See  Melun. 

Dauphin,  the,  crowned  Charles  VII.,  I.  Henry  VI.,  i.  1. 

David's  (St.)  Day  (March  1st),  the  leek  worn  upon,  Henry  V., 
iv.  7.    See  Leek. 

Davy,  servant  of  Justice  Shallow  in  II.  Henry  IV.,  first  appears 
in  V.  1. 

Dawn,  lluch  Ado  about  Nothing,  v.  3.  "  The  gentle  day,"  etc. 
See  MoRxixG. 

Day,  the  time  of,  I.  Henry  IV.,  i.  2 ;  the  tell-tale,  II.  Henry  VI., 
iv.  1 ;  Lucrece,  I.  806  ;  prying,  Lucrece,  I.  1088  ;  jocund,  Romeo  and 
Juliet,  Hi.  5  ;  stirring  passage  of  the.  Comedy  of  Errors,  Hi.  1 ;  who 
dares  not  stir  by,  King  John,  i.  1. 

Day(s),  better.  As  You  Like  It,  ii.  7 ;  Timon  of  Athens,  iv.  2 ; 
an  unseasonable,  AlVs  Well  that  Ends  Well,  v.  3 ;  of  reconciliation 
— of  ill  omen,  King  John,  Hi.  1 ;  evil.  Sonnets  Ixvi.  to  Ixviii. ;  never 
such  a,  since  Caesar,  II.  Henry  IV.,  i.  1. 

Day-woman  (dairy),  Love's  Labours  Lost,  i.  2.  Day  is  sup- 
posed to  be  an  old  word  for  milk. 

Dead,  the,  appreciation  of,  AlVs  Well  that  Ends  Well,  v.  3, 
"  well  excused,"  etc. ;  spirits  of,  A  Winters  Tale,  Hi.  3 ;  indignities 
to,  /.  Henry  IV.,  i.  1 ;  of  this  year,  quit  for  the  next,  //.  Henry  IV., 
Hi.  2 ;  eulogy  on,  /.  Henry  VI.,  i.  1 ;  appeasing  of,  by  vengeance, 
Titus  Andronicus,  i.  1  or  2 ;  flowers  for  the,  Henry  VIIL,  iv.  2 ; 
Romeo  and  JuUet,  iv.  5 ;  v.  3 ;  Hamlet,  iv.  5 ;  v.  1;  Cymbeline,  iv. 
2 ;  Pericles,  iv.  1 ;  arms  hung  over  the,  Hamlet,  iv.  5 ;  Titus  An- 
dronicus, i.  1 ;  borne  with  uncovered  face,  Romeo  and  Juliet,  iv.  1 ; 
Hamlet,  iv.  5,  song  ;  among  the,  Romeo  and  Juliet,  Hi.  5  ;  base  uses 
of,  Hamlet,  v.  1 ;  sorrow  for.  Sonnets  xxx.,  xxxi.,lxxi. ;  hair  of.  Son- 
net Ixviii.  ;  praise  of.  Sonnet  Ixxii. 

Dead  men's  fingers,  a  plant,  Hamlet,  iv.  7.  Supposed  to  be 
the  purple  orchis,  spoken  of  in  the  same  sentence  as  long  purples. 


88  INDEX  TO  SHAKSPERE'S   WORKS. 

Deafness,  a  tale  to  cure,  The  Tempest,  i.  2. 

Dear,  so  bloody  and  so,  Twelfth  Night,  v.  i.  Dear  and  dearth 
from  dere,  to  hurt. 

Dearn  (lonely),  Pericles,  Hi.,  prologue. 

Death,  preparation  for,  Measure  for  Ifeasure,  ii.  2  ;  better  than 
dishonour.  Measure  for  Measure,  ii.  4- ;  the  fool  of,  see  Life  ;  terrors 
of.  Measure  for  Measure,  Hi.  1 ;  a  great  disguiser,  Measure  for  Meas- 
ure, iv.  2 ;  life  that  is  past  fearing,  Measure  for  Measure,  v.  1 ;  the 
end  of  woes.  Comedy  of  Errors,  i.  1 ;  penalty  of,  for  traffic  between 
cities,  Comedy  of  Errors,  i.  1 ;  effect  of,  Much  Ado  about  Nothing, 
iv.  1 ;  good  inspirations  at,  3Ier chant  of  Venice,  i.  2 ;  sought.  As 
You  Like  It,  i.  2  ;  conceit  nearer  to  it  than  the  powers,  As  You  Like 
It,  ii.  6 ;  and  sleep.  Taming  of  the  Shrew,  inductiori,  1 ;  tests  of, 
A  Winter's  Tale,  Hi,  2 ;  feasts  by  quarrels  of  kings,  Ki7ig  John,  ii. 
1  or  2 ;  order  for  Arthur's,  King  John,  Hi.  3  ;  welcome.  King  John, 
Hi.  4  ;  effect  of  report  of  Arthur's,  King  John,  iv.  2  ;  no  life  achieved 
liy  others',  King  John,  iv.  4 ;  truth  in.  King  John,  v.  4 ;  besieging 
the  mind.  King  John,  v.  7 ;  value  of  words  at,  Richard  II.,  ii.  1 ; 
prophecy  before,  Richard  II.,  ii.  1 ;  I.  Henry  IV.,  v.  4;  nothing  our 
own  but — an  antic  throned  in  the  crown,  Richard  II.,  Hi.  2 ;  owed 
to  God,  I.  Henry  IV.,  v.  1;  counterfeited,  I.  Henry  IV.,  v.  4;  allu- 
sion to  the  notion  that  it  takes  place  at  ebb-tide,  Henry  V.,  ii.  3 ; 
friendship  in,  Henry  V.,  iv.  6  ;  the  umpire  of  men's  miseries,  I.  Hen- 
ry VI.,  H.  5 ;  like  the  removal  of  a  court,  /.  Henry  VI.,  H.  5 ;  the 
end  of  misery,  I.  Henry  VI.,  Hi.  2  ;  thou  antic  (harlequin),  I.  Henry 
VI.,  iv.  7 ;  signs  of  a  violent,  II.  Henry  VI.,  Hi.  2 ;  fear  of,  //. 
Henry  VI.,  Hi.  3 ;  coming  of,  III.  Henry  VI.,  i.  4,  "  The  sands  are 
numbered,"  etc. ;  summons  to,  Troilus  and  Cressida,  iv.  4 ;  defiance 
of,  Coriolanus,  Hi.  2,  3 ;  apparent,  Romeo  and  Juliet,  iv.  5 ;  v.  3 ; 
lamentation  for,  Romeo  and  Juliet,  iv.  5  ;  merriment  at,  Romeo  and 
Juliet,  V.  3 ;  beauty  in,  Romeo  and  Juliet,  v.  3 ;  and  honour,  Julius 
Ccesar,  i.  2  ;  fear  of,  Julius  Ccesar,  ii.  2 ;  Hi.  1;  lament  for,  Julius 
Ccesar,  Hi.  1 ;  time  of,  the  only  anxiety,  Julius  Ccesar,  Hi.  i  ;  a  be- 
coming, Macbeth,  i.  4;  omens  of,  Macbeth,  ii.  3,  see  also  Omens; 
peace  of,  Macbeth,  Hi.  2 ;  in  life,  Macbeth,  iv.  3,  "  The  quean,  etc. ; 
dusty,  JIacbeth,  v.  5;  a  soldier's,  Macbeth,  v.  7;  common,  Hamlet, 
i.  2  ;  without  absolution,  Hamlet,  i.  5 ;  what  may  come  after,  Ham- 
let, Hi.  1 ;  proud — a  fell  sergeant — why  should,  be  shunned,  Hamlet, 
V.  2,  "  Not  a  whit,"  etc. ;  men  must  await  their,  King  Lear,  v.  2  ;  suf- 
fered hourly,  Ki7ig  Lear,  v.  3 ;  effect  of,  Antony  and  Cleopatra,  i. 
S ;  lament  for,  Antony  and  Cleopatra,  iv.,  end;  study  for  an  easy, 


#  INDEX  TO  SHAKSPERE'S  WORKS.  89 

Antony  arid  Cleopatra,  v.  2 ;  end  of  fear,  Cymbeline,  iv.  2,  song ; 
sought,  Cymheline,  v.  3  ;  the  sure  physician — the  after-inquiry,  Gym- 
heline,  v.  4  ;  like  a  mirror,  Pericles,  i.  1;  apparent,  Pericles,  Hi.  2; 
apostrophe  to,  Venus  and  Adonis,  lines  931,  997  ;  preferred  to  dishon- 
our, Lucrece,  I.  1723  ;  of  the  childless,  Sonnets  i..  Hi.,  iv.,  vi.,  x.,  xii., 
xiii.,  xiv. ;  defeated  by  verse.  Sonnets  xviii.,  cvii. ;  the  churl,  Sonnet 
xxxii. ;  longing  for.  Sonnet  Ixvi. ;  knell  of,  //.  Henry  IV.,  i.  1 ;  Son- 
net Ixxi. ;  Venus  and  Adonis,  I.  701 ;  a  fell  arrest.  Sonnet  Ixxvi.  ; 
feeds  on  men.  Sonnet  cxlvi. ;  of  a  youth.  Passionate  Pilgrim,  x. 

Deaths,  pangs  of  three  several,  Measure  for  3Ieasure,  Hi.  5. 

Deborah.,  the  sword  of,  /.  Henry  VI.,  i.  2. 

Deboshed,  in  many  passages  for  debauched. 

Debts,  paid  by  death.  Tempest,  Hi.  2;  desperate,  Timon  of 
Athens,  Hi.  4- 

Decay,  this  muddy  vesture  of,  MercJiaiit  of  Venice,  v.  1. 

Deceit,  justified.  Measure  for  Pleasure,  Hi.  1;  iv.  1;  of  men, 
Much  Ado  about  Nothing,  ii.  3,  song ;  under  smiles,  3Ierchant  of . 
Venice,  i.  3  ;  Hamlet,  i.  5  ;  of  a  traitor,  //.  Henry  VI.,  Hi.  1 ;  steals 
gentle  shapes,  Richard  HI,  ii.  2  ;  in  a  gorgeous  palace,  Romeo  and 
Juliet,  Hi.  2  ;  m.  friendship,  Julius  CcBsar,  iv.  2  ;  in  prophecy,  3Iac- 
beth,  V.  7,  "  And  be  these  juggling,"  etc. ;  commended,  Othello,  i.  1 ; 
Macbeth,  i.  5,  7 ;  in  a  face,  Lucrece,  I.  1506  Midsummer-NigM s 
Dream,  Hi.  2 ;  A  Winter's  Tale,  i.  2 ;  II.  Henry  VI.,  Hi.  2 ;  IIL 
Henry  VI.,  Hi.  2. 

Decimation,  and  a  tithed  death,  Timon  of  Alliens,  v.  5. 

Decision.     See  Promptness. 

Decius  Brutus,  one  of  the  conspirators  in  Julius  CcBsar,  first 
appears  in  i.  2.  His  real  name  was  Decimus  Junius  Brutus  Alba- 
nus.  Shakspere  took  this  form  of  the  name  from  his  English  Plu- 
tarch. 

Decline  (incline),  Comedy  of  Errors,  Hi.  2. 

Deed(s),  ill,  double,  Comedy  of  Errors,  Hi.  2  ;  high  and  worthy, 
Much  Ado  about  Nothing,  v.  1 ;  light  of  a  good,  Merchant  of  Ven- 
ice, V.  1 ;  dying  tongueless,  A  Winter's  Tale,  i.  2 ;  without  a  name, 
Macbeth,  iv.  1 ;  foul,  will  rise.  Hamlet,  i.  2 ;  must  go  with  the  pur- 
pose, Macbeth,  iv.  1. 

Deep- vow,  a  prisoner.  Measure  for  Measure,  iv.  3. 

Deer,  killed  my.  Merry  Wives  of  Windsor,  i.  1 ;  see  Shallow  ; 
the  killing  of,  As  You  Like  It,  ii.  1 ;  let  the  stricken,  go  weep,  Ham- 
let, Hi.  2 ;  the  frightened,  Lucrece,  I.  II49 ;  England's  timorous,  /. 
Henry  VI.,  iv.  2.    See  also  Hunting. 


90  INDEX  TO  SHAKSPERE'S  WORKS,  ♦ 

Defeat,  everlasting'  shame,  Henry  V.,  iv.  5. 

Defeatures  (disfigurement),  Comedy  of  Errors,  ii.  1 ;  v.  L 

Defect(s),  influence  of  one,  Hamlet,  i.  4 ;  sometimes  prove  com- 
modities (advantages),  King  Lear,  iv.  1 ;  made  perfections,  Antony 
and  Cleopatra,  ii.  2. 

Defence,  in  cases  of,  weigh  the  enemy  more  mighty  than  he 
seems,  Henry  Y.,  ii.  4,, 

Defiance  (refusal).  Measure  for  Measure,  Hi.  1. 

Defiance,  King  John,  i.  1 ;  iv.  3 ;  v.  2 ;  Richard  II.,  i.  1 ;  iv. 
1 ;  Henry  V.,  i.  2 ;  ii.  4 ;  Hi.  6 ;  iv.  3 ;  Julius  Cmsar,  iv.  3  ;  v.  1  ; 
The  Tempest,  Hi.  3 ;  Much  Ado  about  Nothing,  v.  1;  I.  Henry  IV., 
i.  3 ;  iv.  1;  II.  Henry  IV.,  v.2;  Coriolanus,  Hi.  3  ;  Macbeth,  Hi.  4.; 
Troilus  and  Cressida,  iv.  L 

Deformed,  the,  in  shape  and  manners,  Tempest,  v.  1;  talk  of 
one.  Much  Ado  about  Nothing,  v.  1 ;  only  ambition  left  for  the,  III. 
Henry  VI.,  Hi.  2 ;  called  stigmatics,  //.  Henry  VI.,  v.  1 ;  III.  Hen- 
ry VL,  H.  2. 

Deformity,  Richard  III.,  i.  1-3  ;  Hi.  1 ;  King  Lear,  iv.  2. 

Defuse  (disorder).  King  Lear,  i.  4. 

Degeneracy,  of  descendants  of  the  great.  Taming  of  the  Shrew, 
induction,  2 ;  Jidius  Ccesar,  i.  3 ;  Coriolanus,  Hi.  1 ;  I.  Henry  IV., 
i.  3  ;  of  the  world.  Measure  for  Measure,  Hi.  2 ;  Richard  III.,  i.  3. 

Degree,  observance  of,  Troilus  and  Cressida,  i.  3. 

Deign  (to  honour).  Two  Gentlemen  of  Verona,  i.  1. 

Deiphobus,  son  of  Priam,  character  in  Troilus  and  Cressida,  in- 
troduced in  iv.  1. 

Deity,  used  in  the  sense  of  an  attribute  of  deity,  ubiquity, 
Twelfth  Night,  v.  1,  "  Nor  can  there  be  that  deity,"  etc. 

Delabreth,  Charles,  Constable  of  France.     See  Constable. 

De  la  Pole.     See  Suffolk. 

Delations,  close  (secret  accusations  ?),  Othello,  Hi.  3. 

Delay (s),  danger  of,  All's  Well  that  Ends  Well,  v.  3,  "  Let's  take 
the  instant  by  the  forward  top,"  etc. ;  I.  Henry  IV.,  Hi.  2,  end ;  I. 
Henry  VI.,  Hi.  2 ;  leads  to  beggary,  Richard  III.,  iv.  3 ;  take  swift 
advantage  of  the  hours,  Richard  III,  iv.  1 ;  Troilus  and  Cressida, 
Hi.  3  ;  Timon  of  Athens,  v.  1 ;  Julius  Cmsar,  iv.  3,  "  We  must  take 
the  current,"  etc. ;  Hamlet,  iv.  7,  "  That  we  would  do,"  etc. :  Henry 
VIII.,  iv.  2 ;  Romeo  and  Juliet,  i.  4 ;  the  flighty  purpose  never  is 
o'ertook  unless  the  deed  go  with  it,  Macbeth,  iv.  1. 

Deliberation.     See  Delay. 

Delighted  spirit,  the,  3Ieasure  for  Measure,  Hi.  1. 


INDEX   TO  SHAKSPERE'S   WORKS.  91 

"  A  difficult  word  to  explain  in  this  connection.  It  is  variously 
understood  as  referring  to  the  previous  condition  of  the  spirit,  as 
being  used  in  the  sense  of  delightful,  as  in  Othello,  i.  3,  '  If  virtue  no 
delighted  beauty  lack  ' ;  and  as  meaning  de-lighted,  deprived  of  light, 
a  manner  of  using  the  prefix  not  uncommon  among  writers  of  Shak- 
spere's  time." — Hudson. 

Delights,  the  vainest,  Love's  Labour's  Lost,  i,  1;  violent,  Ro- 
meo and  Juliet,  ii.  6. 

Delirium,  King  John,  v.  7. 

Delphos,  oracle  at,  consulted,  A  Winter's  Tale,  ii.  1 ;  Hi.  1,  2. 
It  is  spoken  of  as  an  island  in  Hi.  1,  as  it  is  in  the  story  on  which  the 
play  was  founded. 

Delusion,  Hamlet,  Hi.  4;  Cymheline,  iv.  2. 

Demerits  (merits),  Coriolanus,  i.  1. 

Dem.etrius,  character  in  Midsummer-NighV s  Dream,  introduced 
in  i.  i  ;  a  lover  of  Hermia  at  first,  af^terward  of  Helena. 

Dem.etrius,  son  of  Tamora  in  Titus  Andronicus ;  is  introduced 
in  i.  i  or  ^  as  a  prisoner  of  the  Romans,  and  is  set  free  by  the  em- 
peror ;  plots  against  Lavinia,  ii.  1,  3,  4 ;  is  killed,  iv.  2.  Like  his 
brother,  he  is  pure  brute. 

Demetrius,  character  in  Antony  and  Cleopatra ;  introduced  in 
i.  1,  a  friend  of  Antony. 

DemLOn,  thy,  thy  spirit  which  keeps  thee,  Antony  and  Cleopatra, 
ii.  3.    Demon  here  is  used  in  the  sense  of  guardian  angel. 

Dem.ureness,  in  boys,  //.  Henry  IV.,  iv.  3. 

Denayed  (denied),  II.  Henry  VI.,  i.  3. 

Denis,  Saint,  patron  of  France,  Henry  V.,  v.  2;  I.  Henry  VI.,  Hi.  2. 

Denmark,  something  rotten  in,  Hamlet,  i.  4. 

Dennis,  one  of  Oliver's  servants  in  As  You  Like  It,  i.  1. 

Denny,  Sir  Anthony,  character  in  Henry  VIII. ;  introduced  in 
V.  1. 

Denny,  Lady,  the  name  sometimes  given  as  that  of  the  old  lady, 
friend  to  Anne  Bolcyn,  in  Henry  VIII. 

Denunciation,  of  Leontes  by  Paulina,  A  Winter'' s  Tale,  ii.  3 ; 
of  Perdita  and  Florizel,  iv.  3  or  4. 

Denunciation  (proclamation),  Pleasure  for  Measure,  i.  3* 

Depart  (rather  part  with).  Love's  Labour's  Lost,  ii.  L 

Deputy,  power  entrusted  to  a,  Measure  for  Measure,  i.  1 ;  state 
of  a.  Merchant  of  Venice,  v.  1. 

Derby,  Earl  of.     See  Stanley,  Thomas,  Lord. 

Dercetas,  character  in  Antony  and  Cleopatra  ;  introduced  in  iv, 
14,  friend  of  Antony ;  his  desertion,  iv.  12  or  I4. 


92  INDEX  TO  SHAKSPERE'S   WORKS. 

Derivative  (inheritance),  A  Winter'' s  Tale,  in.  2. 

Descant  (part  added  to  a  song),  Two  Gentlemen  of  Verona,  i.  2. 

Descent,  poor,  hated  by  women,  Two  Oentlemen  of  Verona,  Hi.  2. 

Desdemona,  wife  of  Othello,  first  appears  in  i.  3  ;  described,  ii. 
1 ;  the  story  of  her  marriage.  Hi.  1 ;  she  intercedes  for  Cassio,  Hi.  3, 
^;  is  murdered,  v.  2. 

"  In  Desdemona  we  cannot  but  feel  that  the  slightest  manifesta- 
tion of  intellectual  power  or  active  will  would  have  injured  the  dra- 
matic effect.  She  is  a  victim  consecrated  from  the  first — '  an  offer- 
ing without  blemish,'  alone  worthy  of  the  grand  final  sacrifice ;  all 
harmony,  all  grace,  all  purity,  all  tenderness,  all  truth ! " — Mrs.  Jame- 
son.   See  also  Imogen, 

Desert,  an  inaccessible.  As  You  Like  It,  ii.  7. 

Desert,  your,  speaks  loud,  Measure  for  Measure,  v.  1;  used  after 
one's,  Hamlet,  ii.  2. 

Desertion,  remorse  for,  Antony  and  Cleopatra,  iv.  6,  9  ;  in  mis- 
fortune, Antony  and  Cleopatra,  iv.  10  or  12. 

Desire,  gratified,  without  content,  Macbeth,  Hi.  2 ;  Cymheline, 
i.  7. 

Desolation,  King  John,  ii.  2 ;  Richard  II.,  i.  2 ;  Henry  VIII., 
Hi.  1;  Cynibeline,  Hi.  3. 

Despair,  King  John,  Hi.  4 ;  iv.  3  ;  Hamlet,  i.  2,  "  That  this  too, 
too  solid  flesh  would  melt,"  etc. ;  trifling  with,  to  cure.  King  Lear, 
iv.  6 ;  Cymbeline,  i.  1 ;  Antony  and  Cleopatra,  Hi.,  end ;  iv.  10  or 
12,  12  or  14;  Comedy  of  Errors,  v.  1;  Richard  II.,  ii.  2 ;  Richard 
III,  v.  3;  Titus  Andronicus,  Hi.  1;  Macbeth,  v.  5;  Merchant  of 
Venice,  Hi.  2. 

Desperate  (magic)  studies.  As  You  Like  It,  v.  4- 

Desperation,  Macbeth,  Hi.  1 ;  v.  7 ;  III.  Henry  VI.,  i.  4 ,'  King 
John,  Hi.  4;  Romeo  and  Juliet,  v.  3  ;  Othello,  v.  2 ;  Julius  Ccesar,  v. 
5  ;  Antony  and  Cleopatra,  Hi.  9  ;  iv.  13. 

Despondency,  Richard  II.,  Hi.  2 ;  Richard  III,  v.  3 ;  Timon 
of  Athens,  iv.  3. 

Destiny,  The  Tempest,  Hi.  3 ;  Richard  III,  iv.  4 ;  Othello,  Hi. 
3  ;  hanging  and  wiving  go  by,  3Ierchant  of  Venice,  ii.  9. 

Determination.     See  Resolution. 

Detraction.     See  Calumny,  Slander. 

Detractions,  they  that  hear  their.  Much  Ado  about  Nothing, 
ii.  3. 

Deucalion,  A  Winter's  Tale,  iv.  3  or  4.  The  Noah  of  Greek 
mythology. 

De  Vere,  John.    See  Oxford. 


INDEX  TO  SHAKSPERE'S   WORKS.  93 

Devil,  the,  will  not  have  me  damned,  Merry  Wives  of  Windsor^ 
V.  5;  a  cunning  enemy,  Measure  for  Measure,  ii.  2;  write  good 
angel  on  his  horn  (that  is,  give  a  false  seeming),  Measure  for  Meas- 
ure, ii.  4  ;  crest  of,  Measure  for  Measure,  ii.  4 ;  seek  redemption  of 
the,  Measure  for  Measure,  v.  1;  his  burning  throne,  Measure  for 
Measure,  v.  1 ;  a  long  spoon  to  eat  with  the,  Comedy  of  Errors,  iv. 
S ;  can  cite  Scripture,  Merchant  of  Venice,  i.  3 ;  in  the  likeness  of 
a  Jew,  Mercliant  of  Venice,  Hi.  1 ;  AlVs  Well  thai  Ends  Well,  iv.  5 ; 
lead  the  measure  (of  fashion),  AlVs  Well  that  Ends  Well,  ii.  1 ;  thy 
master,  AlVs  Well  that  Ends  Well,  ii.  3 ;  possession  by,  Twelfth 
Night,  Hi.  4;  treated  with  courtesy.  Twelfth  Night,  iv.  2 ;  in  like- 
ness of  a  bride.  King  John,  Hi.  1 ;  selling  the  soul  to — due  of,  /. 
Henry  IV.,  i.  2 ;  Glendower's  league  with,  I.  Henry  IV.,  ii.  2 ;  com- 
mand— tell  truth  and  shame  the,  I.  Henry  IV.,  Hi.  1 ;  seem  a  saint 
and  play  the,  Richard  III.,  i.  3  ;  mistake  of,  Timon  of  Athens,  Hi.  3  ; 
Julius  Caesar,  i.  2  ;  "  can  the,  speak  true  ?  "  Macbeth,  i.  3  ;  a  painted, 
JIacbeth,  ii.  2 ;  sold  to,  for  Banquo's  children,  Macbeth,  Hi.  1 ;  hath 
power  to  assume  a  pleasing  shape,  Hamlet,  ii.  2 ;  with  visage  of  de- 
votion, Hamlet,  Hi.  1;  prince  of  darkness,  King  Lear,  Hi.  4;  in  the 
voice  of  a  nightingale.  King  Lear,  Hi.  6 ;  reference  to  the  cloven 
foot  of,  Othello,  V.  2,  "  I  look  down  toward  his  feet,"  etc. 

Devil(s),  a  born,  The  Tempest,  iv.  1 ;  speaking,  The  Tempest,  v.  1 ; 
a  demi-devil,  The  Tempest,  v.  1 ;  crime  too  inhuman  for  a,  A  Winter's 
Tale,  Hi.  2 ;  aifect  sanctity,  Othello,  H.  3  ;  names  of,  Ki?ig  Lear,  Hi. 
4.    See  FiEXDS. 

Devotion,  Two  Gentlemen  of  Verona,  ii.  7 ;  Henry  VIII.,  iv.  1  ; 
pretence  of,  3Ierchant  of  Venice,  ii.  2 ;  Othello,  ii.  3 ;  the  devil  su- 
gared over  with  the  visage  of,  Hamlet,  Hi.  L 

Dew,  from  Bermuda's  wicked,  The  Tempest,  i.  2  ;  tears  of  flow- 
ers. Midsummer- NighVs  Dream,  Hi.  1;  the,  Midsummer-NighVs 
Dream,  iv.  1;  falling,  King  John,  ii.  1 ;  the  air  doth  drizzle,  Ro- 
meo and  JuUet,  Hi.  5 ;  honey-dew,  Titus  Andronicus,  Hi.  1.  Pliny 
says  that  honey-dew  is  the  saliva  of  the  stars,  or  a  liquid  produced 
by  the  purgation  of  the  air. 

Diana,  the  goddess,  introduced  in  Pericles,  v.  1  (or  2),  where  she 
appears  to  the  king  in  a  vision.  Her  livery,  ii.  5 ;  in  the  fountain. 
As  You  Like  It,  iv.  1.  Dianas  at  fountains  were  not  uncommon  ;  one 
set  up  in  1596  at  West  Cheap,  London,  poured  water  from  the 
breasts;  seemed  as,  Much  Ado  about  Nothing,  iv.  1;  chaste  as, 
Merchant  of  Venice,  i.  2 ;  bud  of  (Agnus  Castus,  chaste  tree),  Mid- 
summer-NigMs  Dream,  iv.  1;  knights  of,  AlVs  Well  that  Ends 
7 


94  INDEX  TO  SHAKSPERE'S   WORKS, 

Well,  i.  3;  from  thy  altar  fly,  AlVs  Well  that  Ends  Well,  ii.  3;  her 
foresters,  I.  Henry  IV.,  i.  2 ;  the  stars  her  waiting- women,  Troilui 
and  Cressida,  v.  2. 

Diana,  a  young  girl,  daughter  of  a  widow  in  Florence,  character 
in  AlVs  Well  that  Ends  Well,  introduced  in  in.  5. 

Dice,  Henry  V.,  iv.,  'prologue;  King  Lear,  iii.  4.;  Antony  and 
Cleopatra,  ii.  3.     See  Gourd. 

Dick,  a  butcher,  follower  of  Jack  Cade  in  II.  Henry  VI.,  iv.  2,  3. 

Dickens,  the.  Merry  Wives  of  Wiiidsor,  iii.  2. 

Dickon  (Richard  III.),  Richard  III.,  v.  3. 

Dictator,  a,  Antony  and  Cleopatra,  ii.  6. 

Dictynna  (Diana),  Love's  Labour's  Lost,  iv.  2. 

Dido,  Queen  of  Carthage,  The  Tempest,  ii.  1 ;  Merchant  of  Ven- 
ice, v.  1;  Midsummer-Night'' s  Dream,  i.  1 ;  II.  Henry  VI.,  iii.  2; 
Titus  Andronicus,  ii.  3  ;  Antony  and  Cleopatra,  iv.  12  or  llf.. 

Die,  to,  is  to  be  a  counterfeit,  /.  Henry  IV.,  v.  If. ;  without  a  sign, 
IL  Henry  VI.,  iii.  3;  when  the  brains  were  out,  the  man  would, 
Macbeth,  iii.  Jf.. 

Dieu  vous  garde,  etc.  (God  guard  you,  sir,  and  you  also  you? 
servant),  Twelfth  Night,  iii.  L 

Di  faciant,  etc.  (the  gods  grant  this  may  be  the  last  triumph). 
Ill  Henry  VI.,  i.  3. 

DifEiculty,  as  great  as  for  a  camel,  etc.,  Richard  IL,  v.  5. 

Diffused  (wild,  elf-like).  Merry  Wives  of  Windsor,  iv.  4. 

Digest  (?  dissolve  or  receive).  King  Lear,  i.  1. 

Digestion,  described,  Coriolanu^,  i.  1,  fable;  of  unquiet  meals, 
Comedy  of  Errors,  v.  1 ;  Troilus  and  Cressida,  ii.  3 ;  wait  on  appe- 
tite, Macbeth,  Hi.  4. 

Dighton,  John,  a  murderer,  Richard  III,  iv.  3. 

Dignity(ies),  of  office,  II.  Henry  IV.,  v.  3 ;  Henry  VIII.,  iii. 
1 ;  clay  and  clay  differ  in,  Cymbeline,  iv.  2. 

Dildos  and  fadings,  refrains  of  songs,  A  Winter's  Tale,  iv.3or  4. 

Dilemmas  (plans),  AlFs  Well  that  Ends  Well,  iii.  6. 

Diluculo  surgere,  etc.  (to  rise  early  is  most  healthful),  Twelfth 
Night,  ii.  3,  from  Lily's  Latin  Grammar. 

Dimples,  A  Wiiiter's  Tale,  ii.  3 ;  Venus  and  Adonis,  I.  242. 

Dinner,  a  man  is  unforgiving  before,  Coriolanus,  v.  1;  haste 
for,  King  Lear,  i.  4. 

Diomedes,  Grecian  general,  character  in  Troilus  and  Cressida, 
introduced  in  ii.  3.  Cressida  deserts  Troilus  for  him,  and  they  fight 
in  V.  6.    Alluded  to  in  III.  Henry  VI.,  iv.  2. 


INDEX  TO  SHAKSPERE'S  WORKS,  95 

Diomedes,  an  attendant  of  Cleopatra  in  Anto7iy  and  Cleopatra, 
introduced  in  iv.  14. 

Dion,  one  of  the  lords  sent  to  consult  the  oracle  in  A  Winter^s 
Tale,  a.  1 ;  Hi.  1,  2. 

Dionyza,  wife  of  Cleon,  in  Pericles,  introduced  in  i.  4. ;  plots 
against  Marina,  iv.,  prologue,  1,  3  or  4 ;  burned  in  the  palace,  v.  3. 

Dirges,  Cymbeline,  iv.  2,  "  Notes  of  sorrow  out  of  tune." 

Dis,  Tlie  Tempest,  iv.  1 ;  wagon  of,  A  Winter's  Tale,  iv.  3  or  4. 
Pluto,  god  of  the  realms  of  the  dead. 

Disappointment,  in  one  beloved,  Sonnets  xxxiv.  to  xlii. 

Disasters,  attributed  to  planets.  King  Lear,  i.  2 ;  Hamlet,  i,  1  ; 
Julius  Ccesar,  Hi.  1;  m  lofty  actions,  Troilus  and  Cressida,  i.  3. 

Discipline,  of  war,  Henry  V.,  Hi.  2 ;  iv.  1;  Richard  III.,  v.  3  ; 
Troilus  and  Cressida,  ii.  3. 

Discomfort,  from  the  seeming  spring  of  comfort,  Macheth,  i.  2. 

Discontent,  brows  full  of,  Richard  II.,  iv.  1 ;  with  the  present, 
Ih  Henry  IV.,  i.  3  ;  popular,  King  John,  Hi.  4;  Henry  VIII.,  i.  2  ; 
winter  of,  Richard  III,  i.  1 ;  in  poverty,  Richard  III.,  iv.  2  ;  with 
one's  talents.  Sonnet  xxix. ;  Romeo  and  Juliet,  Hi.  3. 

Discord,  civil,  II.  Henry  IV.,  i.  1. 

Discord,  gives  strength  to  the  enemy,  Troilus  and  Cressida, 
i.3. 

Discretion,  the  better  part  of  valour  is,  I.  Henry  IV.,  v.  4 ;  want 
of,  in  age.  King  Lear,  ii.  4,  "  You  are  old,"  etc. ;  honourable  not  to 
outsport,  Othello,  ii.  3. 

Discrimination,  of  man,  Cymbeline,  i.  6. 

Discussion,  keen  encounter  of  wits,  Richard  III,  i.  2. 

Disdain,  Lady,  applied  to  Beatrice  by  Benedick,  3Iuch  Ado  ahout 
JTothing,  i.  1. 

Disease(s),  Measure  for  Measure,  i.  2  ;  worst  before  cure,  King 
John,  Hi.  4  ;  vanity  of  sickness.  King  John,  v.  7  ;  (anxiety)  I.  Henry 
VI.,  H.  5 ;  King  Lear,  i.  1 ;  turn  to  commodity — of  not  listening, 
//.  Henry  1 V.,  i.  2  ;  of  the  mind,  Macheth,  v.  3  ;  concealed,  Hamlet, 
iv.  1 ;  desperate,  need  desperate  remedies,  Hamlet,  iv.  3 ;  bestow  the 
fee  upon  the,  King  Lear,  i.  1 ;   Venus  and  Admiis,  I.  739. 

Diseases,  rotten,  of  the  south,  Troilus  and  Cressida,  v.  1 ;  list 
of,  Venus  and  Adonis,  I.  739 ;  ague.  The  Tempest,  ii.  2 ;  King  John, 
Hi.  4;  Richard  IL,  H.  1;  I.  Henry  IV.,  Hi.  1 ;  Henry  VIII.,  i.  1 
Troilus  and  Cressida,  Hi.  3 ;  Macheth,  v.  5  ;  apoplexy,  allusions  to, 
II.  Henry  IV.,  i.  2 ;  iv.  4  ;  II.  Henry  VI.,  Hi.  2  ;  Coriolanus,  iv.  5 
cataract,  or  pin-and-web,  A  Winter's  Tale,  i.  2 ;  King  Lear,  Hi.  4 


96  INDEX  TO  SHAKSPERE'S   WORKS. 

c-onsumption,  Timon  of  Athens,  iv.  3 ;  King  Lear,  iv.  6 ;  dropsy, 
Tlie  Tempest,  iv.  1 ;  1.  Henry  IV.,  ii.  Jf. ;  epilepsy,  the,  allusions  to, 
Julius  Ccesar,  i.  2 ;  Othello,  iv.  1 ;  fevers.  Comedy  of  Errors,  v.  1 ; 
Measure  for  Measure,  v.  1 ;  King  John,  v.  3 ;  II.  Henry  I V.,  iv.  1 ; 
Henry  V.,  ii.  1 ;  Julius  Ccesar,  i.  2  (see  ague,  above) ;  fistula,  AlVs 
Well  that  Ends  Well,  i.  1;  green-siekness,  //.  Henry  IV.,  iv.  3 ; 
Romeo  a7id  Juliet,  Hi.  5 ;  Antony  and  Cleopatra,  Hi.  2 ;  Pericles, 
iv.  6 ;  gout,  As  You  Like  It,  Hi,  2 ;  Cymbeline,  v.  4 ;  heart-break, 
A  Winter's  Tale,  Hi.  2;  Richard  III,  i.  3;  Macbeth,  iv.  3 ;  hys- 
teria. King  Lear,  ii.  If. ;  indigestion,  The  Tempest,  ii.  2,  "  My  stom- 
ach is  not  constant ; "  Comedy  of  Errors,  v.  1 ;  Love's  Labour's  Lost, 
i.  1 ;  Midsummer-Night's  Dream,  ii.  2 ;  iv.  1,  "  Like  a  sickness," 
etc.;  jaundice,  Troilus  and  Cressida,  i.  3;  leprosy  (see  measles); 
malady  of  France,  Measure  for  Measure,  i.  2  ;  Henry  V.,  v.  1 ;  Peri- 
cles, iv.  2,  6  ;  measles  (leprosy),  Coriolanus,  Hi.  1 ;  Timon  of  Athens, 
iv.  1, 3  ;  nightmare.  King  Lear,  Hi.  4  ;  palsy,  allusions  to,  Richard  IL, 
ii.  3 ;  II.  Henry  VI.,  iv.  7 ;  Troilus  and  Cressida,  i.  3 ;  plague  or 
pestilence.  Love's  Labour's  Lost,  v.  2 ;  Troilus  and  Cressida,  iL  3  ; 
Coriolanus,  i.  4 ;  iv.  1 ;  Romeo  and  Juliet,  v.  2 ;  King  Lear,  ii.  4 ; 
plurisy  (plethora),  Hamlet,  iv.  7 ;  rheumatism,  Midsianmer-Night's 
Dream,  H.  1 ;  Julius  Ccesar,  H.  1 ;  sciatica,  the,  Measure  for  Meas- 
ure, i.  2 ;  Timon  of  Athens,  iv.  1;  scrofula  or  king's  evil,  Timon  of 
Athens,  iv.  3,  "Consumptions  sow,"  etc.;  Macbeth,  iv.  3 ;  serpigo. 
Measure  for  Measure,  Hi.  1 ;  Troilus  and  Cressida,  ii.  3  ;  swooning, 
Measure  for  Measure,  ii.  4;  As  You  Like  It,  iv.  3;  toothache,  Much 
Ado  about  Nothing,  Hi.  2 ;  v.  1 ;  Othello,  Hi.  3 ;  Cymbeline,  v.  4. 

Disedged,  satiated,  a  term  in  falconry,  Cymbeline,  Hi.  4. 

Disguise,  wickedness  of,  Twelfth  Night,  ii.  2. 

Disguises,  of  Julia,  Two  Oentlemen  of  Verona  ;  of  Portia,  Mer- 
chant of  Venice;  of  Rosalind  and  Celia,  As  You  Like  It ;  of  Viola, 
Twelftli  Night,  i.  2;  of  Feste,  Twelfth  Night,  iv.  2;  of  Edgar,  King 
Lear,  ii.  3 ;  of  Kent,  King  Lear,  i.  4 ;  of  Falstaff,  Merry  Wives  of 
Windsor,  iv.  4;  of  Imogen,  Cymbeline,  Hi.  6. 

Dishonour,  compared  with  death.  Measure  for  Pleasure,  Hi.  1 ; 
Lucrece,  I.  1723 ;  unconsciousness  of  one's  own,  Othello,  iv.  1.  See 
Honour. 

Dislike  (displease),  Romeo  and  Juliet,  ii.  2.    See  Mislike. 

Disloyalty,  rebuke  of.  Two  Oentlemen  of  Verona,  iv.  2,  4- 

Dismes  (tens),  Troilus  and  Cressida,  ii.  2. 

Disobedience,  Two  Oentlemen  of  Verona,  Hi.  1 ;  Midsummer' 
Night's  Dream,  i,  1 ;  Merchant  of  Venice,  Hi.  1. 


INDEX  TO  SHAKSPERE^S   WORKS,  97 

Disparity,   of  years,  Passionate   Pilgrim,  xiL ;    Midsummer- 
Mghfs  Dream,  i.  1 ;  Othello,  L  3. 
Dispatch.     See  Promptness, 
Display,  aversion  to,  Measure  for  Pleasure,  %.  1.  Ji-. 
Displeasure,  rash,  AlVs  Well  that  Ends  Well,  v.  3. 
Disposer  (attendant  or  handmaid),  Troilus  a/nd  Cressida,  Hi.  1. 
Dissemble  (disguise),  Twelfth  Night,  iv.  2. 
Dissembling,  allowable,  Coriolanus,  iif\  2. 
Dissensions,  civil,  1.  Henry  VI.,  Hi.  i;  iv.  1,  end;   between 
army  leaders,/.  Henry  VL,  iv.  3,  4;  should  be  healed,  III  Henri 
VL,  iv.  6. 

Dissimulation.     See  Deceit,  Falsehood, 
Dissolution,  of  the  earth.  The  Tempest,  iv.  1 ;  a  man  of  con- 
tinual dissolution,  and  thaw.  Merry  Wives  of  Windsor,  Hi.  5. 

Distaff,  give  the,  to  my  husband.  King  Lear,  iv.  2;  turned  to  a 
lance,  Cymheline,  v.  3. 

Distain  (eclipse),  Pericles,  iv.  3  (or  4). 
Distress,  makes  uncivil,  As  You  Like  It,  ii.  7. 
Disunion,  Troilus  and  Cressida,  i.  3;  King  Lear,  ii.  4- 
Disvouched  (contradicted),  Pleasure  for  Measure,  iv.  3. 
Dive-dapper,  a  small  bird,  Ve7ius  and  Adonis,  I.  86. 
Dives  (Luke  xvi.  19),  allusion  to,  /.  Henry  IV.,  Hi.  3. 
Divine,  a,  that  follows  his  own  instructions.  Merchant  of  Venice, 
i.  2  ;  needed  more  than  the  physician,  Macbeth,  v.  1. 
Divine  (immortal)  soul,  my,  Richard  II.,  i.  1. 
Divinity,  the,  that  doth  hedge  a  king,  Hamlet,  iv.  5  or  2  ;  that 
shapes  our  ends,  Hamlet,  v.  2 ;  in  odd  numbers,  3Ierry  Wives  of 
Windsor,  v.  1 ;  reasoning  in,  Henry  V.,  v.  L 
Division  (variations),  /.  Henry  IV.,  Hi.  L 
Divorce,  Henry  VIII.,  ii.  1,  2,  4. 
Divorced,  doubly,  Richard  II.,  v.  L 
Dizzy,  a  prisoner,  3Ieasure  for  Measure,  iv.  3. 
Doctor,  death  will  seize  the,  Cymheline,  v.  5. 
Doctors,  two,  characters  in  Macbeth :  one,  an  English  doctor, 
appears  in  iv.  3  ;  the  other,  Scotch,  attending  Lady  Macbeth,  v.  1,  3. 
Document  (lesson),  Hamlet,  iv.  5  (or  2). 
Dog,  Launce's,  Two  Gentleinen  of  Verona,  ii.  2,  5  ;  iv.  4. 
Dog(s),  spirits  in  form  of,  The  Tempest,  iv.  1 ;  dank  as  a,  I. 
Henry  IV.,  ii.  1;  howling  of,  ominous,  II.  Henry  VI.,i.4;  III 
Henry  VI.,  v.  6 ;  rather  be  a,  Julius  Ccesar,  iv.  3  ;  various  kinds  of, 
Macbeth,  Hi.  1 ;  w-     have  his  day,  Hamlet,  v.  1 ;  obeyed  In  oflace. 


98  INDEX  TO  SHAKSPERE'S  WORKS, 

King  Lear,  iv.  6 ;  not  a  word  to  throw  at  a,  As  You  Like  It,  i.  3 ; 
of  war,  Julius  Ccesar,  Hi.  L 

Dogberry,  a  blundering  and  conceited  constable  in  Much  Ado 
about  Nothiiig,  introduced  in  Hi.  3,  "  It  is  a  charming  incongruity 
to  find,  while  Leonato  rages  and  Benedick  offers  his  challenge,  that 
the  solemn  ass,  Dogberry,  is  the  one  to  unravel  the  tangle  of  threads." 

— DOWDEN. 

Dog-days,  Romeo  and  Juliet,  Hi.  1,  "  For  now,  these  hot  days," 
etc. ;  Henry  VIIL,  v.  3. 

Doing,  if  doing  were  as  easy  as  knowing  what  to  do,  Merchant 
of  Venice,  i.  B. 

Doit,  John,  II.  Henry  IV.,  Hi.  2. 

Doit,  Merchant  of  Venice,  i.  3.  Equal  to  about  half  a  far- 
thing. 

Dolabella,  a  friend  of  Caesar  in  Antony  and  Cleopatra,  intro- 
duced in  Hi.  12  ;  his  message  to  Cleopatra,  v.  2. 

Dole  (portion,  lot),  happy  man  be  his,  Merry  Wives  of  Windsor, 
Hi.  4,'  A  Winter's  Tale,  i.  2,  and  elsewhere. 

Dole  (wailing).  As  You  Like  It,  i.  2. 

Doll  Tearsheet,  a  low  woman,  character  in  II.  Henry  IV.,  first 
appears  in  H.  4.  In  Henry  V.,  ii.  1,  Pistol  recommends  her  to  Nym. 
It  has  been  suggested  that  htr  name  is  corrupted  from  Tear-Street, 
which  would  explain  the  remark  of  the  prince,  "  This  Doll  Tearsheet 
should  be  some  road  "  {II.  Henry  IV.,  ii.  3). 

Dolphin,  the.    See  Dauphin. 

Dolphin  chamber,  the,  II.  Henry  IV.,  H.  L 

Domineer  (bluster),  Taming  of  the  Shrew,  Hi.  2. 

Donalbain  (Donald  Bane),  younger  son  of  King  Duncan  in  Mac- 
beth. He  escapes  to  Ireland  after  the  murder  of  his  father.  He  suc- 
ceeded his  brother  Malcolm  on  the  throne  of  Scotland  in  1093, 

Don  Pedro.     See  Pedro. 

Doom,  the  crack  of,  Macbeth,  iv.  1 ;  the  general,  Romeo  and  Ju- 
liet, Hi.  2. 

Doomsday,  Richard  III,  v.  1 ;  Julius  Ccesar,  Hi.  1  -•  is  near,  1 
Henry  IV.,  iv.  1,  end  ;  Hamlet,  ii.  2. 

Dorcas,  a  shepherdess,  introduced  in  A  Winter's  Tale,  iv.  4' 

Doricles,  name  assumed  by  Florizel,  A  Winter's  Tale.  iv.  3  or  4. 

Dorset,  Thomas  Grey,  first  Marquis  of,  character  in  Richard 
III.,  son  of  Queen  Elizabeth,  first  appears  in  i.  3.  He  joined  Buck- 
ingham's rebellion,  but  escaped  to  Brittany  after  its  faihire.  His 
marriage  with  the  daughter  of  William  Bonville,  Lord  Harrington, 


INDEX  TO  SHAKSFERE'S    WORKS.  99 

is  spoken  of  in  III.  Henry  VI..,  iv.  1.  Lady  Jane  Grey  was  his 
great-granddaughter. 

Double  meanings,  Macbeth,  v.  7,  "  Keep  the  word  of  promise 
to  our  ear  and  break  it  to  our  hope." 

Doublet  and  hose,  courage  due  from,  As  You  LiTce  It,  ii.  4 ; 
in  my  disposition,  As  You  Like  It,  Hi.  2. 

Doubt,  beacon  of  the  wise,  Troilus  and  Cressida,  ii.  2 ;  worse 
than  certainty  of  evil,  Cymbeline,  i.  6. 

Doubts,  are  traitors,  Measure  for  Measure,  i.  5. 

Doubts  (suspicions),  the  noble  cast  away,  Henry  VIII.,  Hi.  1. 

Dough,  the  cake  is.  Taming  of  the  Shrew,  i.  1;  v.  1. 

Douglas,  Archibald,  Earl  of,  character  in  /.  Henry  IV.,  intro- 
duced in  iv.  1.  His  defeat  at  Holmedon  or  Homildon  Hill,  Septem- 
ber 14,  1402,  by  Hotspur,  is  described  in  i.  1.  He  afterward  became 
the  ally  of  the  Percys  when  they  rebelled  against  Henry  IV.  On  the 
field  of  Shrewsbury,  July  23,  1403,  he  kUls  Lord  Stafford  and  Sir 
Walter  Blunt,  mistaking  them  for  the  king.  When  he  meets  the 
king  at  last,  the  prince  comes  to  his  father's  rescue,  and  Douglas 
flies.  Taken  prisoner  afterward,  he  is  set  free  by  the  prince,  v.  5. 
He  is  brave,  fearless,  and  faithful. 

Dove(s),  allusions  to :  Modest  as.  Taming  of  the  Shrew,  ii.  1 ; 
A  Winter's  Tale,  iv.  4  (turtles) ;  spirit  of  peace,  //.  Henry  I V.,  iv, 
1 ;  Mahomet's,  I.  Henry  VI.,  i.  2  (see  Mahomet)  ;  like  a  pair  of,  1. 
Henry  VI.,  ii.  2 ;  innocence  of,  II.  Henry  VI.,  Hi.  1 ;  faithfulness 
of,  Troilus  and  Cressida,  Hi.  2  (turtle) ;  love  and,  Romeo  and  Juliet, 
H.  1 ;  young  of,  Hamlet,  v.  1 ;  doves  of  Venus,  The  Tempest,  iv.  1 ; 
presents  of.  Merchant  of  Venice,  ii.  2 ;  Midsummer-NighVs  Dream, 
i.  1 ;  Venus  and  Adonis,  I.  1190 ;  of  Paphos,  Pericles,  iv.,  prologue. 
Paphos  is  on  the  island  of  Cyprus,  where  Venus  was  worshipped. 

Dover,  England,  scene  of  part  of  King  Lear ;  cliffs  of,  King 
Lear,  iv.  1,  end  ;  iv.  6. 

Dowland,  John,  an  English  musician  (1562-1626),  who  called 
himeelf  a  "  lutenist,"  and  published  song-books.  Passionate  Pilgrim, 
via.  Wood  says,  "We  are  assured  that  John  Dowland  was  the 
rarest  musician  that  his  age  did  behold." 

Dowry,  a  curse  for  a.  King  Lear,  i.  1 ;  Hamlet,  Hi.  1. 

Dowsabel,  name  applied  to  a  fat  woman,  Comedy  of  Errors, 
iv.  1. 

Drachma  (about  sevenpence),  Julius  Ccesar,  Hi.  2. 

Draft,  of  soldiers,  I.  Henry  IV.,  iv.  2. 

Dragon(s),  on  the  chariot  of  night,  Midsummer-Night's  Dream, 


100  INDEX  TO  SHAKSPERE'S   WORKS. 

Hi.  2 ;  Cijmhdine^  ii.  2  ;  St.  George  and  the,  on  sign-boards,  ^m^ 
'Jolin,  ii.  1;  spleen  of  ^evj,  Richard  III.,  v.  3;  like  to  a  lonely, 
Coriolanus,  iv.  1 ;  between  a,  and  his  wrath,  King  Lear,  i.  1. 

Dreams,  The  Tempest,  Hi.  2 ;  such  stuff  as,  The  Tempest,  iv.  1; 
of  money-bags,  Merchant  of  Venice,  ii.  5;  if,  be  thus.  Twelfth 
Night,  iv.  1 ;  are  toys,  A  Winter's  Tale,  Hi.  3 ;  of  war,  I.  Henry  IV., 
ii.  3 ;  of  the  Duke  and  Duchess  of  Gloucester,  //.  Henry  VI.,  i.  2 ; 
of  Clarence,  Richard  III,  i.  4;  of  Stanley,  Richard  III.,  Hi.  2 ;  of 
Richard  and  Richmond,  Richard  III,  v.  3  ;  of  Andromache,  Troilus 
and  Oressida,  v.  3  ;  Queen  Mab  in — substance  of,  Romeo  and  Juliet, 
i.  4 ;  presaging,  Romeo  and  Juliet,  v.  1 ;  of  Caesar's  wife,  Julius 
Cmsar,  ii.  2 ;  evil  suggestions  in,  Macheth,  ii.  1 ;  bad,  Hamlet,  ii. 
2 ;  Cymbeline,  v.  4 ;  iv.  2,  "  'Twas  but  a  bolt  of  nothing,"  etc. ;  of 
one  loved.  Sonnet  xliii. ;  that  may  come  in  the  sleep  of  death,  Haw^- 
let.  Hi.  1. 

Dress,  of  a  bridegroom.  Taming  of  the  Shrew,  Hi.  2;  women's, 
TQ,ming  of  the  Shrew,  iv.  3  ;  unimportance  of.  Taming  of  the  Shreiv, 
iv.  3 ;  devotion  to,  AlVs  Well  that  Ends  Well,  i.  2,  "Whose  Judg- 
ments are,"  etc.;  neat  and  trim,  /.  Henry  IV.,  i.  3;  extravagance 
in,  Henry  VIII.,  i.  1,  "  Manors  on  their  backs,"  etc. ;  rule  for,  Ham- 
let, i.  3 ;  Oymheline,  Hi.  4i  *'^'«  ^  >  Richard  III.,  i.  2. 

Drink,  Twelfth  Night,  i.  3 ;  Macheth,  ii.  3 ;  an  enemy  in  the 
mouth,  Othello,  ii.  3. 

Drinking,  the  English  experts  in,  Othello,  H.  3.  See  Drunk- 
enness. 

Drinking-scenes,  The  Tempest,  H.  1;  Hi.  2 ;  Twelfth  Night, 
ii.  3 ;  Othello,  ii.  3 ;  Aiitony  and  Cleopatra,  ii.  7. 

Drinking-song,  Antony  and  Cleopatra,  ii.  7. 

Dromios,  the  two,  of  Ephesus  and  Syracuse,  twin  brothers,  serv- 
ants of  the  twin  Antipholuses  in  the  Comedy  of  Errors,  introduced 
in  i.  2  and  Hi.  1.    Dromio  of  Syracuse  is  described  by  his  master  as 
"  A  trusty  villain,  sir,  that  very  oft, 
When  I  am  dull  with  care  and  melancholy, 
Lightens  my  humour  with  his  merry  jests." 

Drop,  one,  seeks  another.  Comedy  of  Errors,  i.  2. 

Drop-Heir,  a  prisoner.  Measure  for  Measure,  iv.  3. 

Drowned,  not  born  to  be,  The  Tempest,  i.  1 ;  Two  Gentlemen  of 
Verona,  i.  1. 

Drowning,  longing  of  the,  for  land,  The  Tempest,  i.  1,  end; 
dream  of,  Richard  III,  i.  4  ;  death  by,  Hamlet,  iv.  7  or  4;  suicide 
by,  Othello,  i.  3. 


INDEX  TO  SHAKSPERE'S   WORKS.  101 

Drowning-mark,  The  Tempest,  i.  1 ;  v.  1. 

Drum,  let  him  fetch  ofE  his,  AlVs  Well  that  Ends  Well,  Hi.  G. 

Drum,  John,  entertainment  of  (a  beating),  AWs  Well  that  Ends 
Well,  Hi.  6. 

Drunk,  in  godly  company,  Merry  Wives  of  Windsor,  i.  1. 

Drunkard,  one  loves  another,  Love's  Lahoufs  Lost.  iv.  3. 

Drunken  man,  what  like,  Twelfth  Night,  i.  5. 

Drunkenness,  The  Tempest,  Hi.  2 ;  iv.  1 ;  v.  1 ;  folly  of,  Othel- 
lo, a.  3 ;  Merry  Wives  of  Windsor,  i.  1,  2 ;  Taming  of  the  Shreiv, 
mduction,  1 ;  Much  Ado  about  Nothing,  Hi.  3. 

Dry-beat  (beat  soundly),  Romeo  and  Juliet,  Hi.  1. 

Dry-foot,  draws  (follows  the  scent),  Comedy  of  Errors,  iv.  2. 

Ducats,  gild  myself  with,  3Ierchant  of  Venice,  ii.  6  ;  my  daugh- 
ter and  my,  Merchant  of  Venice,  ii.  8 ;  fourscore  spent,  Merchant 
of  Venice,  Hi.  1. 

Ducdame,  As  You  Like  It,  H.  5.  Of  uncertain  meaning.  Some 
read  it  Due  ad  me,  lead  to  me. 

Duck,  swim  like  a,  The  Tempest,  ii.  2. 

Dudgeon  (handle),  Macbeth,  ii.  1. 

Duel(s),  contemplated,  Merry  Wives  of  Windsor,  i.  4 ;  H.  1,  3  ; 
Hi.  1;  Much  Ado  about  NotJmig,  v.  1;  Tivelfth  Night,  Hi.  4; 
threats  of  a,  All's  Well  that  Efids  Well,  ii.  3 ;  between  Horner  and 
Peter,  II.  Henry  VI.,  ii.  3 ;  Hamlet,  i.  1.     See  Challenges. 

Duelling,  causes  for.  Love's  Labour's  Lost,  i.  2,  end ;  satire  on 
rules  of.  As  You  Like  It,  v.  4.  The  passage  is  supposed  to  have  been 
suggested  by  a  book  on  the  punctilio  of  duelling,  by  Vincentio  Savi- 
olo,  published  in  1596.  Terms  of,  Romeo  and  Juliet,  H.  4;  Hi.  1 ; 
Taming  of  the  Shrew,  Hi.  5. 

Duke,  the,  in  As  You  Like  It,  who  is  living  in  the  Forest  of 
..4rden,  his  brother  having  usurped  his  place.  He  is  introduced  in 
ii.  L  He  is  just  and  moderate,  unembittered  by  the  wrong  he  has 
suffered,  and  as  happy  in  the  forest  as  at  the  court. 

Duke  of  Dark  Corners,  the,  Meastire  for  Measure,  iv.  3. 

Dull,  a  stupid  constable  in  Love's  Labour's  Lost,  introduced  in 
i.  1. 

Dulness,  Hamlet,  iv.  1. 

Dumbleton,  a  merchant  spoken  of  in  II.  Henry  IV.,  i.  2. 

Dumain,  one  of  the  lords  attending  on  the  king  in  Love's  La- 
hour's  Lost,  introduced  in  the  first  scene  — 

"  For  he  hath  wit  to  make  an  ill  shape  good, 
And  shape  to  win  grace  though  he  had  no  wit." 


102  INDEX  TO  SHAKSPERE'S   WORKS, 

Diiinain,  Captain,  f^landeroiisly  described  by  Parolles  in  All\ 
Well  fiuif  Ends  Well,  iv.  3. 

Dumps  (sad  music),  Tivo  Gentleineii  of  Verona,  Hi.  2 ;  Lucrece 
I.  1127,  and  elsewhere. 

Dun,  if  thou  art,  Romeo  and  Juliet,  i.  4.  Allusion  to  the  game 
Dun-is-in-the-Mire.  Dun  was  a  log  of  wood,  which  stood  for  a  horse 
and  was  said  to  be  in  the  mire.  Two  of  the  company  tried  to  pull 
him  out,  calling  one  after  another  of  the  rest  to  their  assistance, 
until  all  were  helping,  and  Dun  was  at  length  pulled  out. 

Dunbar,  George,  Earl  of  March,  in  Scotland  called  Lord  Mor- 
timer, letter  from,  1.  Henry  lY,,  ii.  3 ;  Hi.  2.  His  title  March  led 
to  the  mistake  of  calling  him  Mortimer. 

Duncan,  King  of  Scotland,  character  in  Macbeth,  described  by 
Macbeth  in  *.  7.  He  first  appears  in  i.  2,  visits  Macbeth's  castle,  i, 
6,  and  is  murdered,  ii.  1.  The  circumstances  of  the  murder  are 
taken  from  the  account  of  the  assassination  of  King  Duff.  In  other 
respects,  the  play  follows  the  traditionary  story,  as  told  in  Holinshed, 
quite  closely.  The  real  Duncan,  whose  death  took  place  by  the 
treachery  of  Macbeth,  Mormaer  of  Moray,  in  1040,  is  said  to  have 
been  an  unjust  and  somewhat  weak  sovereign.  The  gracious  char- 
acter ascribed  to  him  in  the  play  is  according  to  the  chronicle. 

Duns,  of  creditors,  Timon  of  Athens,  ii.  1,  2  ;  Hi.  4.' 

Dunsinane,  a  hill  nine  miles  northeast  of  Perth,  3Iacbeth,  iv.  1, 
scene  of  act  v. ;  battle  of,  v.  6,  7,  8. 

Dunsmore,  III.  Henry  YI,  v.  1. 

Dunstable,  Henry  Y^II->  *^'  -^' 

Dupe,  an  easy.  King  Lear,  i.  2. 

Duplicity.     See  Deceit,  Falsehood. 

Duty,  to  make  virtue  known,  Measure  for  Measure,  i.  1 ;  service 
sweat  for.  As  You  Like  It,  ii.  3  ;  promptings  of,  3Iidsummer- 
Nighfs  Dream,  v.  1 ;  did  never  want  his  meed.  Two  Gentlemen  of 
Yerona,  ii.  ^;  unswerving,  Henry  YIlL,iii.2 ;  Hamlet,  ii.  2;  can- 
not be  silent,  King  Lear,  ^^  1,  4. 

Eagle(s),  the  sight  of,  Love's  Labour's  Lost,  iv.  3 ;  III.  Henry 
VL,  ii.  1 ;  flight  of,  Timon  of  Athens,  i.  1 ;  age  of,  Timon  of  Athens, 
iv.  3 ;  suffer  little  birds  to  sing,  Titus  Andronicus,  iv.  4 ;  omens  of 
victory,  Julius  Ccesar,  v.  1 ;  Cymbeline,  i.  1 ;  iv.  2  ;  a  hungry,  Ye7ius 
and  Adonis,  I.  55;  eye  of,  Romeo  and  Juliet,  Hi.  5;  Richard  II,, 
Hi.  3 :  England  the,  Henry  Y.,  i.  2  ;  the  holy,  Cymbeline,  v.  4* 

Ear  (to  plough),  Antony  and  Cleopatra,  i.  2,  4. 


INDEX   TO  SHAKSPERE'S    WORKS.  103 

Ear(s),  what  fire  is  in  my,  3Iuch  Ado  about  Nothing,  Hi.  1.  Al- 
lusion to  the  supposed  burning  of  the  ears  when  one  is  talked  of. 
Locks  worn  by  the,  3Iuch  Ado  about  Nothing,  Hi.  3 ;  v.  1 ;  biting 
the,  Romeo  and  Juliet,  ii.  3^.;  thy  fair,  large,  Midsummer-Nighf s 
Dream,  iv.  1 ;  ear  of  man  hath  not  seen,  Ilidsummer-Nighf  s  Dream, 
iv.  1 ;  deaf  to  counsel,  not  to  flattery.  Timon  of  Athens,  i.  2 ;  prom- 
ise kept  to  the,  Macbeth,  v.  8  ;  give  every  man  thine,  Hamlet,  i.  3 ; 
light  of  (ready  to  hear  scandal).  King  Lear,  Hi.  4. 

Early  rising,  Twelfth,  Night,  ii.  3. 

Early  training,  //.  Henry  VI.,  Hi.  1,  "  Now  'tis  the  spring," 
etc. ;  Hamlet,  i.  3,  "  The  canker  galls,"  etc. 

Earth,  the,  I  task  (throw  down  my  gage),  Richard  II.,  iv.  1  ; 
curse  on,  Timon  of  Athens,  iv.  3,  "  That  nature,"  etc. ;  mother  and 
tomb  of  nature,  Romeo  a?id  Juliet,  ii.  3  ;  a,  sterile  promontory,  Ham- 
let, ii.  2 ;  a,  girdle  round  the,  Jlidsummer-Nighfs  Dream,  li.  1  ; 
nothing  lives  on,  but  crosses,  Richard  II.,  ii.  2 ;  more  things  in 
heaven  and,  Hamlet,  i.  5. 

Eartliquake(s),  As  You  Like  It,  Hi.  2 ;  explanation  of,  /.  Henry 
IV.,  Hi.  1 ;  Romeo  and  Juliet,  i.  3.  Perhaps  an  allusion  to  one  felt 
in  England,  April  6,  1580.     The  earth  feverous,  Ilacbeth,  ii.  3. 

Eastcheap,  in  London,  scene  of  parts  of  /.  and  II.  Henry  I V., 
and  Henry  V.,  which  are  at  the  Boar's  Head  Tavern,  kept  by  Mrs. 
Quickly.  A  tavern  with  that  sign  stood  near  Blackfriars  Play- 
house. Eastcheap  was  near  the  mansion  assigned  to  the  Prince  of 
Wales. 

Easter,  allusion  to  the  custom  of  wearing  new  clothes  at,  Romeo 
and  Juliet,  Hi.  1,  "  Wearing  his  new  doublet  before  Easter." 

Eater,  a  hearty.  Much  Ado  about  Nothing,  i.  1,  "A  valiant 
trencher-man." 

Eating.     See  Appetite,  Digestion,  Din^'er. 

Ebony,  black  as.  Love's  Laboufs  Lost,  iv.  3. 

Eaves,  made  of  reeds,  The  Tempest,  v.  L 

Eaves-dropper,  play  the,  Richard  III.,  v.  3. 

Ecce  signum  (behold  the  sign),  I.  Henry  IV.,  ii.  4- 

Eche  (eke),  Pericles,  Hi.,  prologue. 

Echo,  babbling  gossip.  Twelfth  Night,  i.  5  ;  cave  of,  Romeo  and 
Juliet,  ii.  2;  Taming  of  the  Shrew,  induction,  2;  Titus  Androni- 
cus,  ii.  3. 

Echo,  name  of  a  dog.  Taming  of  the  Shreiv,  induction.  1. 

Eclipses,  ominous,  Macbeth,  ii.  3 ;  iv.  1 ;  Hamlet,  i.  1 ;  King 
Lear,  i.  2 ;  Othello,  v.  2 ;  Antony  and  Cleopatra,  Hi.  13. 


104  INDEX  TO  SHAKSPERE'S  WORKS. 

Ecstasy  (madness),  The  Tempest,  iii.  3;  Hamlet,  Hi.  4,  and 
elsewhere. 

Edgar,  son  of  Gloucester,  in  King  Lear;  introduced  in  i.  2 ;  his 
brother's  plot  against  him,  i.  2;  ii.  i ;  Ais  flight,  ii.  1;  his  feigned 
madness,  ii.  3  ;  Hi.  4,  6  ;  iv.  1 ;  fights  with  Oswald,  iv.  6  ;  is  restored 
to  his  place,  v.  3.  The  chai-acter  of  Edgar  is  contrasted  with  that  of 
Edmund ;  both  are  able,  but  Edgar's  uprightness  and  unsuspicious- 
ness  make  him  at  first  an  easy  prey  to  his  brother's  scheme ;  yet  he 
carries  out  his  own  designs  with  patience  and  skill. 

Edmund,  Earl  of  Rutland.    See  Rutland. 

Edmund,  an  important  character  in  King  Lear,  illegitimate  son 
of  Gloucester,  introduced  in  the  first  scene.  He  is  able,  bold,  and 
wicked,  his  wickedness  finding  some  excuse  in  the  fact  that  he  is  em- 
bittered by  the  stain  upon  his  birth,  and  the  consequent  injustice 
which  he  feels  he  labours  under,  and  some  mitigation  in  the  fact  that 
he  is  not  a  hypocrite  to  his  own  conscience,  but  writes  himself  down 
"plain  villain."  His  plot  against  Edgar,  i.  2;  ii.  1;  his  double- 
dealing  with  Regan  and  Goneril,  iv.  5,  6  ;  v.  1,  3. 

Education,  for  a  gentleman.  As  You  Lilce  It,  i.  1.    See  Grammar. 

Edward,  the  Confessor  (1004-1066),  Macbeth,  iii.  6. 

Edward  III.  (1312-1377),  Henry  V.,  ii.  4;  at  Crecy,  i.  2. 

Edward,  the  Black  Prince  (1330-1376),  Richard  II.,  ii.  1,  "  In 
war  was  never,"  etc. :  Henry  V.,  i.  2 ;  ii.  4. 

Edward,  Prince  of  Wales  (1453-1471),  son  of  Henry  VI.,  char- 
acter in  III.  Henry  VI.,  introduced  in  i.  1;  disinherited,  ii.  2; 
knighted,  ii.  2 ;  captured  and  killed,  v.  5.  It  is  not  certain  whether 
he  fell  in  battle  or  was  put  to  death  afterward. 

Edward  IV.  (1442-1483),  character  in  II.  and  ///.  Henry  VI., 
and  Richard  III.  In  the  first  he  appears  as  Edward,  son  of  the 
Duke  of  York,  only  in  v.  1.  In  ///.  Henry  VI.  he  is  introduced 
in  i.  1,  as  Earl  of  March.  On  the  death  of  his  father  at  Wakefield, 
i.  4,  he  becomes  Duke  of  York  and  claimant  to  the  throne.  He  de- 
feats the  Lancastrians  at  Mortimer's  Cross,  ii.  1.  This  scene  gives 
the  traditional  origin  of  his  device  of  the  three  suns.  He  went  to 
London  and  was  proclaimed  king,  then  went  north  and  won  the 
battle  of  Towton  (March  29,  1461),  ii.  4.  and  returning  to  London 
was  crowned  king.  His  marriage  with  Lady  Grey  gives  offence  in 
France  and  turns  the  Earl  of  Warwick  against  him,  iii.  3 ;  iv.  1. 
His  capture  and  rescue  are  in  iv.  3,  5,  6  ;  in  v.  2,  the  battle  of  Bariiet 
(April  14, 1471),  where  Warwick  was  kiUed,  and  in  v.  4  that  of  Tewks- 
bury  (May  4,  1471),  where  Margaret's  forces  were  defeated.     These 


INDEX  TO  SHAKSPERE'S  WORKS.  105 

victoi'ies  and  the  death  of  Henry  VI.  made  him  secure  on  the  throne. 
The  })rofligate  character  attributed  to  him  in  the  phiy  is  matter  of 
history.  In  Richard  III.  he  is  introduced  in  ii.  1 ;  his  remorse  for 
the  fate  of  Chirence,  ii.  1 ;  his  death,  ii.  2. 

Edward,  Prince  of  Wales  (Edward  V.),  son  of  Edward  IV., 
character  in  Richard  III,  appears  first  in  Hi.  1,  where  he  is  sent  to 
the  Tower.  His  beauty,  Hi.  1,  2  ;  declared  illegitimate  by  Bucking- 
ham, Hi.  7 ;  his  death,  iv.  2,  3  ;  his  ghost,  v.  3.  In  the  mere  hints 
given  of  his  character  he  appears  as  having  a  delicate  tact,  with 
precocity  of  discretion  and  caution,  quite  in  contrast  with  the  saucy 
wit  of  his  younger  brother,  little  Richard  of  York  (1470-1483). 

Eels,  King  Lear,  ii.  4.  Allusion  to  the  opinion  that  they  were 
roused  by  thunder,  Pericles,  iv.  3. 

Effeminacy,  loathed,  Troilus  and  Cressida,  Hi.  3 ;  of  Antony, 
Antony  and  Cleopatra,  i.  4- 

Egeus,  father  of  Hermia,  in  Midsummer-Night's  Dream,  intro- 
duced in  i.  1. 

Eggs,  to  steal,  from  a  cloister,  AlVs  Well  that  Ends  Weil,  iv.  3  ; 
for  money  (proverb),  A  Winter's  Tale,  i.  2. 

Eglamour,  a  character  in  the  Two  Geiitlemen  of  Verona,  who 
helps  Silvia  to  escape,  iv.  3. 

Egypt,  name  applied  to  Cleopatra  in  Antony  and  Cleopatra. 

Egyptian  fog,  Twelfth  Night,  iv.  2. 

Egyptian  thief.  Twelfth  Night,  v.  1.  Thyamis,  chief  of  a  band 
of  robbers,  who  killed  his  mistress  when  surprised  by  a  stronger 
band,  that  he  might  have  her  company  in  the  other  world. 

Eisel  (vinegar).  Sonnet  cxi.     See  also  Esill. 

Elbow,  rub  the,  I.  Henry  IV.,  v.  1.  Allusion  to  the  notion  that 
an  itching  elbow  was  a  precursor  of  change. 

Elbow,  an  ignorant  and  amusing  constable  in  Measure  for  Meas- 
ure, introduced  in  ii.  1,  whose  use  of  English  is  much  like  Dogberry's. 
He  arrests  "  two  notorious  benefactors  "  who  are  "  void  of  all  profa- 
nation in  the  world  that  good  Christians  ought  to  have." 

Elder-tree,  allusion  to  the  belief  that  it  grows  where  blood  has 
been  shed,  Titus  Andronicus,  ii.  4;  emblem  of  grief,  Cynibeline,  iv.  2. 
Judas  was  said  to  have  hanged  himself  on  an  elder.  Love's  Labour's 
Lost,  v.  2. 

Eleanor,  Duchess  of  Gloucester,  in  Richard  II.    See  Gloucester. 

Eleanor,  wife  of  Humphrey,  Duke  of  Gloucester.  She  was  the 
daughter  of  Reginald,  Lord  Cobham,  and  celebrated  for  her  beauty 
and  bad  morals.    She  is  a  character  in  //.  Henry  VI.,  introduced  in 


106  INDEX  TO  SHAKSPERE'S  WORKS. 

i.  2,  where  her  ambition  to  become  queen  is  expressed,  and  her  deter- 
mination to  resort  to  witchcraft ;  her  meeting  with  the  witch,  i.  4; 
charge  against  her,  ii.  1 ;  sentenced  to  banishment,  ii.  3 ;  led  bare- 
foot through  the  streets,  ii.  4.  It  was  charged  that  she  or  her  accom- 
plices melted  before  the  fire  a  waxen  image  of  the  king,  that  his  life 
might  waste  away  as  the  wax  melted.  Her  trial  took  place  in  1441, 
and  Queen  Margaret  did  not  arrive  in  England  till  1445,  so  that 
their  meeting  in  i.  3  is  by  dramatic  license.  The  "  Hali  of  Justice  " 
is  St.  Stephen's  Chapel.  Westminster.  Eleanor  was  imprisoned  in 
Chester  Castle,  and  afterward  in  Kenilworth,  where  she  died  in  1454. 

Election,  the  doctrine  of.  Measure  for  Measure,  i.  3,  "  On  whom 
it  will,  it  will,"  etc. 

Elements,  a  word  over-worn,  Twelfth  Night,  Hi.  1 ;  the  four, 
Twelfth  Night,  ii.  3 ;  Antony  and  Cleopatra,  v.  2 ;  Sonnets  xliv., 
xlv. ;  so  mixed,  Julius  Ccesar,  v.  5 ;  alluding  to  the  idea  that  the 
body  is  composed  of  the  four  elements,  and  that  health  and  ability 
depend  on  their  due  proportion ;  Lear's  appeal  to  the.  King  Lear, 
Hi.  2. 

Elephant,  the,  an  inn.  Twelfth  Night,  Hi.  3. 

Elephant,  the,  Troilus  and  Cressida,  ii.  3.  Alluding  to  the 
notion  that  the  elephant  had  no  joints,  and  could  not  bend  its  knees 
or  lie  down.     Betrayed  with  holes  (pitfalls),  Julius  Ccesar,  ii.  1. 

Elf-locks,  Romeo  and  Juliet,  i.  4.  Fairies  were  supposed  to 
mat  and  tangle  the  manes  of  horses  into  "  elf-locks." 

Elinor  of  Aquitaine,  widow  of  King  Henry  II.,  character  in 
King  John,  introduced  in  the  first  scene.  She  is  the  inspirer  of  the 
worst  deeds  of  her  son  John.  Constance,  whom  she  hates  and  tor- 
ments through  Arthur,  calls  her  an  offence  to  morality.  She  had 
before  incited  her  sons  against  their  father,  Henry  II.  (1122-1204). 

Elizabeth  Woodville  (Lady  Grey),  queen  of  Edward  IV.,  char- 
acter in  Richard  HI.,  introduced  in  i.  3.  In  iv.  4,  she  entertains  the 
proposal  for  her  daughter's  hand,  of  the  king,  the  enemy  of  her  house, 
and  the  one  responsible  for  the  murder  of  her  sons.  She  was  the 
daughter  of  Richard  Woodville,  Earl  Rivers,  and  the  first  English 
woman  that  was  raised  from  the  rank  of  subject  to  that  of  royalty 
after  the  Conquest.  Her  first  husband  was  Sir  John  Grey,  who  was 
slain  at  St.  Albans  fighting  for  the  House  of  Lancaster.  His  estate 
was  confiscated  when  the  Yorkists  came  into  power.  Tradition  says 
that  she  first  met  Edward  IV.  in  a  forest  near  Grafton,  her  father's 
residence,  where  he  was  hunting,  and  where  she  sought  him  to  peti- 
tion for  the  restoration  of  her  husband's  estate  to  her  and  -her  chil- 


INDEX  TO  SIIAKSPERE'S    WORKS.  107 

dren.  The  tree  under  which  they  were  said  to  have  met  was  known 
for  centuries  as  the  Queen's  Oak.  For  other  members  of  her  family, 
see  Edward  V.,  Elizabeth,  Richard,  Rivers,  and  Scales. 

Elizabeth,  the  princess,  daughter  of  Edward  IV.  Richard  III. 
resolves  to  marry  her,  iv.  2,  3,  and  proposes  it  to  her  mother,  iv.  4, 
who  professes  to  entertain  the  proposal  while  secretly  planning  to 
marry  her  to  Richmond  in  case  of  his  success.  She  is  betrothed  to 
Richmond,  v.  5.  This  united  the  title  of  the  House  of  York  to  that 
of  Henry  VII.,  which  was  very  slight. 

Elizabeth,  Queen,  her  birth,  Henry  VIIL,  v.  1;  christening,  v. 
2,  3,  4. ;  Cranmer's  prophecy  concerning  her,  v.  4.  In  Hi.  2,  Suffolk 
makes  something  like  a  prophecy  of  her  reign  when  speaking  of  her 
mother,  "  There's  order  given,"  etc.  See  Boleyx.  The  passage  in 
Midsummer-Nigh  fs  Dream,  H.  1,  beginning  "  That  very  time  I 
saw,"  is  supposed  to  be  an  allusion  to  Elizabeth  (1533-1603). 

Elm  and  vine,  figure  of  the,  Comedy  of  Errors,  ii.  2  ;  Midsum- 
mer-NighVs  Dream,  iv.  1. 

Elopements,  Two  Gentlemen  of  Verona,  ii.  4  /  *^i'-  1 ;  v.  2 ; 
Merry  Wives  of  Windsor,  iv.  6 ;  v.  5 ;  Merchant  of  Venice,  ii.  6,  8 ; 
3Iidsummer-Nighfs  Dream,  i.  1;  iv.  1;  A  Winter's  Tale,  iv.  3  or 
4;  Othello,  i.  1-3. 

Eloquence,  Love's  Labour's  Lost,  ii.  1,  "  Aged  ears  play  tru- 
ant," etc. ;  Henry  V.,  i.  1,  "  The  air,  a  chartered,"  etc. ;  Lover's  Com- 
plaint, I.  120  ;  a  tapster's,  I.  Henry  IV.,  ii.  4. 

Elsinore,  in  the  island  of  Seeland,  Denmark,  scene  of  a  part  of 
Hamlet ;  cliff  at,  i.  4- 

Elves,  offices  of.  The  Tempest,  v.  1.    See  Fairies. 

Elvish-marked,  Richard  III,  i.  3.  AUusion  to  the  notion  that 
deformity  was  due  to  evil  fairies.    * 

Ely,  John  Fordham.  Bishop  of,  from  1388  to  1425,  character  in 
Henry  V.,  enters  in  scene  first  in  conference  with  the  Archbishop  ol 
Canterbury,  to  whom  he  plays  second  throughout. 

Ely,  John  Morton,  Bishop  of,  character  in  Richard  III,  first 
appears  in  Hi.  4;  the  strawberries  in  his  garden.  Hi.  4.  In  iv.  3  he 
flees  to  Richmond.  He  was  made  Bishop  of  Ely  in  1478,  and  of 
Canterbury  in  1486,  and  Lord  Chancellor  in  1487.  The  marriage  of 
Richmond  and  Elizabeth  was  his  suggestion.  Sir  Thomas  More  was 
a  member  of  the  bishop's  household  in  his  youth,  and  doubtless  used 
information  received  from  him  in  the  life  he  afterward  wrote  of 
Richard  in  Latin,  which  furnished  the  chroniclers  with  a  part  of 
their  material  regarding  his  reign. 


108  INDEX  TO  SHAKSPERE'S   WORKS, 

Ely  House,  London,  scene  of  a  part  of  Richard  II. 

Elysium,  Tivo  Gentlemen  of  Verona,  ii.  7  ;  Twelfth  Night,  i.  2 ; 
II.  Henry  VI.,  i.  2 ;  Cyrnbeline,  v.  4,. 

Emballing,  Henry  VIII.,  ii.  S.  Receiving  the  ball  given  to 
sovereigns  at  coronation. 

Emblems,  at  coronation,  Henry  VII I.,  iv.  1.    See  Roses. 

Em.bossed  (foaming  at  the  mouth  from  hard  running — hence, 
run  nearly  to  death),  Taming  of  the  Shrew,  induction,  1 ;  AlVs  Well 
that  Ends  Well,  Hi.  6  ;  Antony  aiid  Cleopatra,  iv.  13. 

Embowelled  (embalmed),  I.  Henry  IV.,  v.  4. 

Embrace,  before  battle,  I.  Henry  IV.,  v.  2,  end. 

Em.ilia,  an  attendant  of  the  queen  in  A  Wi^iter's  Tale,  ii.  2. 

Em.ilia,  lago's  wife,  in  Othello,  introduced  in  ii.  1. 

"  Emilia  is  a  perfect  portrait  from  common  life,  a  masterpiece  in 
the  Flemish  style :  and  though  not  necessary  as  a  contrast,  it  cannot 
be  but  that  the  thorough  "vulgarity,  the  loose  principles  of  this  ple- 
beian woman,  united  to  a  high  degree  of  spirit,  energetic  feeling, 
strong  sense,  and  low  cunning,  serve  to  place  in  brighter  relief  the 
exquisite  refinement,  the  moral  grace,  the  unblemished  truth,  and 
the  soft  submission  of  Desdemona." — Mrs.  Jameson. 

Emmanuel,  clerk  of  Chatham,  IL  Henry  VI.,  tv.  2,  "  They  use 
to  write  it  on  the  top  of  letters."  The  name  was  written  at  the  head 
of  public  papers. 

Em.m.ew  (keep  in  a  cage  or  mew  by  terror,  as  a  falcon  does  a 
fowl),  Jleasure  for  Measure,  Hi.  1,  "  And  follies  doth  emmew." 

Emotions,  AlVs  Well  that  Ends  Well,  Hi.  2 ;  silent.  Much  Ado 
about  Nothing,  ii.  1;  Henry  VIII,  v.  1;  conflicting,  A  Winter's 
Tale,  V.  2 ;  King  Lear,  iv.  3  ;  of  joy,  Pericles,  v.  1. 

Empericeutic  (empiric),  Coriolanus,  ii.  1.  In  some  old  texts  it 
is  "  empyric  qutique."  * 

Emperor  of  Rome,  candidates  for  the  oJfice  of,  Titus  Androni- 
cus,  i.  1  or  2. 

Empirics,  AlVs  Well  that  Ends  Well,  ii.  1,  "  We  thank  you." 

Employm.ent,  affects  nature.  Sonnet  cxi. 

Empress,  station  of  an,  Titus  Andronicus,  ii.  1. 

Emulation  (rivalry).  Troilus  and  Cressida,  ii.  2,  end ;  hath  a 
thousand  sons,  Troilus  and  Cressida,  Hi.  3 ;  virtue  cannot  live  out 
of  the  teeth  of,  Jidius  Ccesar,  ii.  3. 

Enceladus,  Titus  Andronicus,  iv.  2.  The  fabled  giant  under 
Mount  ^tna. 

End,  the,  justifies  the  means,  Lucrece,  I.  528 ;  crowns  all,  King 
John,  i.  1 ;  Troilus  and  Cressida,  iv.  5. 


INDEX  TO  SHAKSPERE'S  WORKS,  109 

Endurance.     See  Fortitude. 

Endymion,  a  beautiful  shepherd,  beloved  by  Diana,  Merchant 
of  Venice,  v.  1. 

Enemy(ies),  at  my  mercy,  Tlie  Tempesi,  iv.  1 ;  during  a  truce, 
Troilus  and  Cressida,  iv.  1 ;  dearest,  /.  Henry  IV.,  Hi.  2 ;  praise  of 
an,  1.  Henry  IV.,  iv.  1,  "  Ko  more,"  etc. ;  wisdom  of  accounting  him 
strong,  Henry  V.,  ii.  4>  combination  against.  King  Lear,  v.  1; 
^nion  before  a  common,  Antony  and  Cleopatra,  ii.  1,  2 ;  folly  of 
imitating  an,  Henry  V.,  iv.  1 ;  causeless,  Henry  VIII.,  ii.  4 ;  drink 
is  an  enemy  in  the  mouth,  Othello,  ii.  3. 

Engaged  (held  as  a  hostage),  /.  Henry  IV.,  iv.  4  ;  v.  2. 

Engine  (instrument  of  torture).  King  Lear,  i.  4. 

Engineer,  hoist  with  his  own  petar,  Hamlet,  Hi.  4,  end. 

England,  curiosity  in.  The  Tempest,  ii.  2 ;  Comedy  of  Errors, 
Hi.  2  ;  white-faced  shore  of,  Ki7ig  John,  ii.  1 ;  M  only  true  to  itseK, 
King  John,  v.  7  ;  praise  of — evil  times  in,  Richard  II.,  ii.  1 ;  an  un^ 
tended  garden,  Richard  II.,  Hi.  4;  claim  of  kings  of,  to  France. 
Henry  V.,  i.  2 ;  a  little  body  with  a  mighty  heart,  Henry  V.,  ii., 
chorus ;  the  defence  of.  III.  Henry  VI.,  iv.  1 ;  in  Elizabeth's  time, 
Henry  VIII,  v.  5.     See  Britain. 

English,  the,  bravery  of,  Henry  V.,  Hi.  5,  6  ;  French  opinion  of, 
Henry  V.,  Hi.  7 ;  iv.  1,2 ;  diet  of,  /.  Henry  VI.,  i.2 ;  Froissart's  ac- 
count  of,  /.  Henry  VI.,  i.  2  ;  tenacity  of,  /.  Henry  VL,  i.  2,  "  Rathei 
with  their  teeth,"  etc. ;  have  angels'  faces,  Henry  VIII.,  Hi.  1 ;  epi- 
cures,  Macbeth,  v.  3  ;  drinking  habits  of,  Othello,  ii.  3 ;  dress  of  one 
of  the.  Merchant  of  Venice,  i.  2. 

English  (language),  the  king's.  Merry  Wives  of  Windsor,  i.  4 ; 
a  fellow  that  frights  it  out  of  his  wits,  Merry  Wives  of  Windsor,  H.  1 ; 
let  them  hack  our.  Merry  Wives  of  Windsor,  Hi.  1 ;  makes  fritters  of, 
Merry  Wives  of  Windsor,  v.  5  ;  a  lesson  in,  Henry  V.,  Hi.  4. 

Enlarge  (set  at  liberty).  Twelfth  Night,  v.  1,  and  elsewhere. 

Enmity.     See  Hatred. 

Enobarbus,  Domitius,  character  in  Antony  and  Cleopatra,  in- 
troduced in  i.  2 ;  his  desertion,  iv.  5  ;  remorse,  iv.  6,  9  ;  death,  iv.  9. 

"  Enobarbus,  who  sees  through  every  wile  and  guile  of  the  queen, 
is,  as  it  were,  a  chorus  to  the  play,  a  looker-on  at  the  game ;  he  stands 
clear  of  the  golden  haze  which  makes  up  the  atmosphere  around  Cle- 
opatra ;  and  yet  he  is  not  a  mere  critic  or  commentator  (Shakspere 
never  permitting  the  presence  of  a  person  in  his  drama  who  is  not  a 
true  portion  of  it).  Enobarbus  himself  is  under  the  influence  of  the 
charm  of  Antony,  and  slays  himself  because  he  has  wronged  his  mas- 
ter."— DOWDEN. 


110  INDEX  TO  SHAKSPERE'S  WORKS. 

Enskied  (in  heaven).  Jleasure  for  Measure,  i.  5. 

Enterprise(s),  want  of,  AlVs  Well  that  Ends  Well,  i.  i ;  a  des- 
perate, I.  Henry  VI.,  ii.  1 ;  failure  of  great,  by  iii'esolution,  Hamlet^ 
Hi.  1. 

Entertain  (take  into  service),  Julius  Ccesar,  v.  5. 

Entrails,  as  if,  were  hairs,  Henry  V.,  Hi.  7.  Alluding  to  the 
bounding  of  a  tennis-ball,  which  was  stuifed  with  hair. 

Envoy  (a  stanza,  first  or  last,  conveying  the  moral  of  a  poem,  or 
addressing  it  to  some  person).  Love's  Labour's  Lost,  Hi.  1. 

Envy  (generally  in  the  sense  of  malice).  Merchant  of  Venice,  iv. 
1 ;  As  You  Like  It,  i.  2 ;  of  the  world,  As  You  Like  It,  ii.  S ;  of  a, 
father,  I.  Henry  IV.,  i.  1;  Richard  III.,  iv.  1;  Henry  VIII.,  Hi.  2^ 
"Follow  your  envious  courses,"  etc.;  v.  2;  lean-faced,  //.  Henry 
VI,  Hi.  2 ;  Troilus  and  Cressida,  H.  1 ;  Lucrece,  I.  39. 

Ephesians  (slang  for  carousers),  II.  Henry  IV.,  ii.  2. 

Ephesus,  scene  of  the  Comedy  of  Errors.  Its  quarrel  with 
S)Tacuse  and  its  bad  name  for  sorcery  adapted  it  for  the  scene  of  the 
extravagant  incidents  of  the  play.  It  is  also  the  scene  of  a  part  of 
Pericles. 

Epicurean,  Cassius  an,  Julius  Ccesar,  v.  1. 

Epidamnum,  in  Illp'ia,  Coynedy  of  Errors,  i.  1,  2 ;  v.  L 

Epidaurus,  Comedy  of  Errors,  i.  1. 

Epilepsy,  or  falling-sickness,  JuUus  CcBsar,  i.  2 ;  Othello,  iv.  1. 

Epilogues,  to  TJie  Tempest  (not  by  Shakspere,  probably,  perhaps 
by  Ben  Jonson) ;  to  As  You  Like  It;  to  AWs  Well  that  Ends  Well, 
probably  not  by  Shakspere;  to  II.  Henry  IV.,  probably  not  by 
Shakspere;  to  Henry  V. ;  to  Henry  VIII.,  probably  not  by  Shak- 
spere. 

Epitapli(s),  on  Hero,  3Iuch  Ado  about  Nothing,  v.  3  ;  on  the  deer. 
Love's  Labour's  Lost,  iv.  2 ;  lying,  ATTs  Well  that  Ends  Well,  ii.  3, 
"  And  these  breed  honour,"  etc. ;  on  Timon,  Timon  of  Athens,  v.  4. 
This  is  made  up  of  two,  one  said  to  have  been  written  by  Timon 
himself,  the  other  by  the  poet  Callimachus.  Better  have  a  bad,  than, 
etc.,  Hamlet,  ii.  2. 

Epitheton  (epithet),  Love's  Labour's  Lost,  i.  2. 

Epithets,  sweetly  vai'ied.  Love's  Labour's  Lost,  v.  2 ;  pretty, 
fond,  adoptions  Christendoms,  All's  Well  that  Ends  Well,  i.  L 

Equality,  of  man,  A  Winter's  Tale,  iv.  3,  "  Once  or  twice  I  was 
about  to  speak,"  etc. ;  Henry  V.,  iv.  1,  "■  The  king  is  but  a  man,"  etc. ; 
Richard  III.,  i.  4,  "  Princes  have  but,"  etc. ;  Coriolanus,  i.  1,  "  The 
gods  sent  not  corn,"  etc. 


INDEX   TO  SUAKSPERE'S   WORKS.  HI 

Equinox,  atorms  at  the  vernal,  Machetlt,  i.  J,  "  As  whence  tlie 
sun,"  etc. 

Equinox  (opposite,  counterpart),  Othello,  ii.  3. 

Equipage  (slang  for  stolen  goods),  Merry  Wives  of  Windsor, 
li.  2. 

Equivocator,  here's  an,  Macbeth,  ii.  3.  Supposed  allusion  tc 
the  doctrine  of  equivocation,  as  professed  by  the  Superior  of  the 
Jesuits,  on  trial  for  complicity  in  the  gunpowder  plot,  in  1606. 

Ercles  (Hercules),  Midsummer-Nigh fs  Bream,  i.  2, 

Erebus  (the  passage  to  Hades),  Merchant  of  Venice,  v.  1 ;  Jidius 
Ccesar,  ii.  1. 

Eringo,  the  (held  to  be  an  aphrodisiac).  Merry  Wives  of  Wind- 
sor, V.  5. 

Eros,  friend  of  Antony,  introduced  in  Hi.  5  of  Antony  and  Cleo- 
patra. In  iv.  12  or  i^  he  kills  himself  rather  than  be  the  instru- 
ment of  Antony's  death. 

Erpingham,  Sir  Thomas,  mentioned,  Richard  II.,  ii.  1. 

Erpingham,  Sir  Thomas,  character  in  Henry  V.,  first  appears 
in  iv.  1,  an  old  man,  treated  with  great  reverence  by  the  king.  It 
w^as  he  who  set  the  English  army  in  order  for  battle  at  Agincourt, 
and  gave  the  signal  for  the  attack  by  throwing  his  truncheon  in  the 
air,  calling,  "  Now  strike ! "  He  built  the  Erpingham  Gate  at  Nor- 
wich. He  was  a  Lollard.  The  first  mention  of  him  is  in  Richard 
II,  ii.  1,  where  he  is  mentioned  among  the  companions  of  Boling- 
broke. 

Error,  melancholy's  child,  Julius  Ccesar,  v.  3  ;  translated  to  truth, 
Sonnet  xcui ;  unavoidable,  A  Winter's  Tale,  i.  2;  popular.  King 
Lear,  iv.  1. 

Errors,  of  men.    See  Faults. 

Escalus,  an  ancient  lord,  character  in  Measure  for  Measure,  in- 
troduced in  the  first  scene.  He  is  wise,  moderate,  and  merciful  in 
his  unregarded  counsel  to  Angelo. 

Escalus,  Prince  of  Verona,  character  in  Romeo  and  Juliet,  intro= 
duced  in  i.  1,  where  he  appears  in  the  scene  of  the  quarrel  and  dis= 
perses  the  combatants,  and  in  Hi.  1  banishes  Romeo. 

Escanes,  a  lord  of  Tyre,  in  Pericles,  introduced  in  *.  3. 

Escapes,  hair-breadth,  Othello,  i.  3. 

Escoted  (paid),  Hamlet,  ii.  2. 

Esher  House,  or  Asher  House,  residence  of  the  bishops  of  Win- 
chester, once  occupied  by  Cardinal  Wolsey,  who  is  ordered  to  retire 
to  it  in  Henry  VIIL,  Hi,  2.  Esher  is  in  Surrey,  southwest  of  London, 


11*2  INDEX   TO  SHAKSPERE'S   WORKS. 

on  the  river  Mole.  An  old  Gothic  building  on  Esher  Place,  with  a 
castellated  gateway,  is  known  as  "  Wolsey's  Tower."  It  was  tenanted, 
but  not  built  by  the  cardinal,  and  is  said  to  have  been  erected  by  a 
bishop  of  Winchester  nearly  a  century  before  Wolsey's  time. 

Esill  (or  eisel),  Hamlet,  v.  i.  A  word  not  understood ;  by  some 
supposed  to  be  the  riv^er  Yesel,  by  others  vinegar. 

Esperance  (hope),  /.  Henry  IV.,  ^^.  3 ;  King  Lear,  iv.  1,  and 
elsewhere.     It  was  the  motto  of  the  Percys. 

Essex,  Countess  of.     See  Maidenhood. 

Essex,  Geoffrey  Fitz-Peter,  Earl  of,  a  character  in  King  John, 
introduced  in  the  first  scene. 

Essex,  Robert  Devereaux,  Earl  of,  allusion  to  his  expedition  to 
Ireland,  Henry  Y.,  v.,  prologue.  He  was  sent  over  in  April,  1599,  to 
suppress  Tyrone's  rebellion.  For  his  conduct  of  the  war,  and  the 
terms  on  which  he  made  peace,  he  was  tried  and  dismissed  from  all 
offices.  He  formed  a  conspiracy  to  force  his  way  to  the  queen's 
presence  and  remove  his  enemies  Dy  force  of  arms,  for  which  he  was 
tried  and  condemned  for  high  treason,  and  executed  February  25, 
1601.  This  passage  was  written,  of  course,  during  the  summer,  before 
his  failure  in  Ireland. 

Estate  (bestow),  The  Tempest,  iv.  1 ;  dispute  his  own  (debate 
about  his  property),  A  Winter's  Tale,  iv.  3  or  Jf.. 

Estimate,  is  the  worth  in  the,  Troilus  and  Cressida,  ii.  2. 

Estimation  (conjecture),  /.  Henry  IV.,  i.  3. 

Estridges  (ostriches),  /.  Henry  IV.,  iv.  1;  Ant.  and  Cleo.,  Hi.  13. 

Et  bonum.,  etc.,  the  older  the  better,  Pericles,  i.,  prologue. 

Etliiop,  a  swarthy.  Two  Gentlemen  of  Verona,  ii.  6 ;  jewels  of 
an,  Romeo  and  Juliet,  i.  5. 

Et  tu,  Erute  ?  Julius  Ccesar,  Hi.,  and  thou,  too,  Brutus  ?  There 
is  no  record  that  Csesar  uttered  these  words  ;  but  Suetonius,  who  wrote 
about  one  hundred  and  seventy-five  years  later,  has  it  that  tradition 
reported  him  as  saying  in  Grfeek,  "  Thou  too,  my  son  ?  " 

Euphonius,  character  in  Antony  and  Cleopatra,  introduced  in 
Hi.  10  or  12,  where  he  is  called  Antony's  schoolmaster. 

Euphuism.s,  Hamlet,  v.  2,  speech  of  Osric ;  Love's  Labour's  Lost. 

Europa,  daughter  of  Agenor,  Taming  of  the  Shrew,  i.  1 ;  31erry 
Wives  of  Windsor,  v.  5  ;  Much  Ado  about  Notliing,  v.  4. 

Evans,  Sir  Hugh,  a  Welsh  parson  and  schoolmaster,  character 
in  the  Merry  Wives  of  Windsor,  introduced  in  the  first  scene.  "  The 
title  Sir  was  applied  to  the  inferior  clergy ;  such  as  had  it  were  not 
graduates  at  the  university,  being  in  orders,  not  in  degrees."     His 


INDEX  TO  SHAKSPERE'S  WORKS.  113 

bad  Englisli  nnd  his  simplicity,  which  is  not  without  a  touch  of 
shrewdness,  make  him  a  very  amusing  character.  He  is  challenged 
by  Doctor  Caius,  and  prepares  to  meet  him,  in  a  very  funny  scene, 
the  first  of  Act  III. 

Evasion,  I.  Henry  IV.,  ii.  4 ;  iv.  1 ;  exhausted,  AlVs  Well  that 
Ends  Well,  ii.  2;  Falstaff's,  with  the  chief  justice,  //.  Henry  IV., 
',.  2 ;  ii.  4,  "1  dispraised  him  before  the  wicked,"  etc. 

Eve,  Richard  II.,  Hi.  4;  the  legacy  of.  Two  Gentlemen  of  Ve- 
rona, Hi.  1 ;  our  grandmother,  Love's  Labour's  Lost,  i.  1. 

Even-Christian  (fellow-Christian),  Hamlet,  v.  1. 

Evening",  Venus  arid  Adonis,  I.  529  ;  Macbeth,  Hi.  2,  3. 

Evidence,  circumstantial,  Cymbeline,  H.  2,  4. 

Evil,  to  allow,  is  to  order,  Measure  for  3Ieasure,  i.  4  ;  the  beau- 
teous, Twelfth  Night,  Hi.  4;  the  sight  of  means  for.  King  John,  iv. 
2  ;  some  soul  of  goodness  in,  Henry  V.,  iv.  1 ;  lives  in  brass,  Henry 
VIII.,  iv.  2  ;  doing,  for  good,  Troilus  and  Cressida,  v.  3 ;  some  good 
in,  Romeo  and  Juliet,  ii.  3,  "  Nought  is  so  vile,"  etc. ;  none  wholly 
free  from,  Othello,  Hi.  3  ;  playing  with,  Othello,  iv.  1 ;  mending  evil 
by,  Othello,  iv.  3,  end ;  that  men  do  lives  after  them,  Julius  Ccesar, 
Hi.  2  ;  attributed  to  a  divine  thrusting  on,  King  Lear,  i.  '2. 

Evils,  of  age  and  hunger,  As  You  Like  It,  ii.  7 ;  worst  before 
departure.  King  Jolin,  Hi.  4',  of  the  age.  Sonnet  Ixvi. 

Examination,  an,  Hamlet,  Hi.  4;  of  Prince  Hal,  /.  Henry  IV., 
ii.  4. 

Example,  of  our  virtues.  Measure  for  Measur&,  i.  1;  power- 
lessness  of,  AlVs  Well  that  Ends  Well,  Hi.  3 ;  and  precept,  Hamlet, 
i.  3,  "  Do  not,  as  some  ungracious  pastors,"  etc. ;  of  vice.  Measure  for 
Measure,  ii.  2. 

Excellence,  modesty  a  witness  of.  Much  Ado  about  Nothing, 
ii.  3 ;  attributed,  Tempest,  Hi.  1 ;  Cymbeline,  v.  6. 

Except  before  excepted  (an  unmeaning  use  of  a  law-term), 
Twelfth  Night,  i.  3. 

Excess,  Measure  for  Measure,  i.  3,  "  From  too  much  liberty," 
etc. ;  Jlidsummer-Nighfs  Bream,  ii.  3,  "  A  surfeit  of  the  sweetest 
things,"  etc. ;  in  ornamentation,  Ki7ig  John,  iv.  2 ;  advice  concern- 
ing, Richard  II.,  H.  1;  Henry  VIII. ,  i.  1,  Norfolk  to  Buckingham; 
Romeo  and  Juliet,  H.  6 ;  Hi.  3  ;  consequences  of.  King  Lear,  iv. 
1,  near  end ;  allow  not  nature  more  than  nature  needs.  King  Lear, 
ii.  4. 

Exclamations.     See  Oaths  and  Exclamations. 

Excommunication,  King  John,  Hi.  L 


114  INDEX  TO  SIIAKSFEliE'S   WORKS. 

Excuses,  often  make  faults  worse,  King  John,  iv.  2. 

Executioner,  Measure  for  Pleasure,  iv.  2  ;  the  common,  As  You 
Like  It,  Hi.  5. 

Exempt  (separated).  Comedy  of  Errors,  ii.  2. 

Exeter,  Thomas  Beaufort,  Duke  of,  character  in  Henry  V.,  en- 
tering in  i.  2,  and  in  /.  Henry  VI.,  entering  in  the  first  scene.  He 
was  uncle  of  Henry  V.,  and  was  appointed  governor  of  Henry  VI. 
after  his  father's  death.  He  was  Earl  of  Dorset  only,  and  not  Duke 
of  Exeter,  until  after  Agincourt,  and  was  not  present  at  that  battle, 
being  at  that  time  Governor  of  Harfleur,  Hi.  3,  where  he  displayed 
great  prowess  in  defending  the  place  in  two  attacks  by  the  French. 
He  died  in  1427. 

Exeter,  Henry  Holland,  Duke  of,  character  in  ///.  Henry  VI., 
introduced  in  i.  1.  He  was  a  son  of  the  Earl  of  Huntingdon,  men- 
tioned in  Henry  V.,  v.  2,  was  a  faithful  Lancastrian,  and  served  at 
the  battles  of  Wakefield,  Towton,  and  Barnet.  He  was  attainted  in 
1461  under  Edward  IV.,  and  became  so  poor  that  Commines  saw 
him,  as  he  says  {Memoirs,  Hi.  Ji),  begging  for  bread.  He  was  found 
dead  in  the  Straits  of  Dover  in  1473. 

Exeter,  Peter  Courtenay,  Bishop  of,  mentioned  in  Richard  IIL, 
iv.  4. 

Exeter,  castle  at,  Richard  III.,  iv.  2.  Built  in  the  time  of  Will- 
iam I.,  destroyed  in  the  Civil  War. 

Exhalations  (meteors  or  flashes  of  lightning),  Henry  VllL,  Hi. 
2 ;  Julius  Ccesar,  H.  1. 

Exhibition  (allowance  of  money,  still  used  for  pensions  allowed 
to  scholars  in  English  coUeges),  Two  Gentlemen  of  Verona,  i.  3 ; 
King  Lear,  i.  2 ;  Othello,  i.  3. 

Exile,  As  You  Like  It,  ii.  1 ;  a  speechless  death,  Richard  JI,  i. 
S;  worse  than  death,  Romeo  and  Juliet,  Hi.  3.     See  Banishment. 

Exorcisms  (summoning  spirits),  II.  Henry  VI,  i.  4.  Exorciser 
and  exorcist  used  in  a  like  sense.  All's  Well  that  Ends  Well,  v.  3  ; 
Julius  Ccesar,  ii.  1;  Cymheline,  iv.  2. 

Expectation,  mistaken,  AlVs  Well  that  Ends  Well,  ii.  1;  of 
evil,  disappointed,  /.  Henry  IV.,  i.  2,  end;  to  a  child,  Romeo  and 
Juliet,  Hi.  2 ;  in  war-time,  Troilus  and  Cressida,  prologue  ;  Othello, 
ii.  1. 

Expedience  (expedition),  Antony  and  Cleopatra,  i.  2. 

Expedient  (expeditious),  King  John,  ii.  1. 

Experience,  achieved  by  industry.  Two  Gentlemen  of  Verona, 
i.  3;  a  jewel,  Merry   Wives  of  Windsor,  ii.  2 ;  want  of,  Romeo  and 


INDEX  TO  SHAKSPERE'S  WORKS.  115 

Julief,  a.  2,  "  He  jests  at  scars,"  etc. ;  must  be  schoolmaster  to  the 
wilful,  King  Lear,  ii.  4  ;  learning  by  others'.  Lover's  Complaint,  I. 
155. 

Experiments,  deep,  L  Henry  IV.,  Hi.  1. 

Expiate  (expired,  or,  to  end),  Richard  III.,  Hi.  3  ;  Somiet  xxii. 

Explosion,  a  threatened,  Hamlet,  Hi.  4.. 

Expression,  in  the  whole  body,  Troilus  and  Cressida,  iv.  5, 
'•'  There's  a  language,"  etc.     See  Faces,  Language,  Words. 

Expulsed  (expelled),  I.  Henry  VI.,  Hi.  3. 

Exsufflicate  (swollen),  Othello,  Hi.  3. 

Extended,  extent  (seized,  attachment,  a  law-term).  As  You  Like 
It,  Hi.  1 ;  Antony  and  Cleopatra,  i.  2. 

Extenuation,  begged  for  youthful  errors,  i.  Henry  IV.,  Hi.  2 ; 
intention  of,  disclaimed,  Othello,  v.  2. 

Extirped.  (extirpated),  I.  Henry  VI.,  Hi.  3. 

Exton,  Sir  Pierce  of,  character  in  Richard  II.,  first  appears  in 
V.  If, ;  murders  Richard,  v.  5 ;  and  is  condemned  for  it  by  Henry,  v. 
6.  Some  historians  are  of  opinion  that  Richard  was  starved  to  death 
in  captivity,  others  that  he  starved  himself  in  grief,  though  many 
follow  the  story  as  Shakspere  has  it.  Henry  IV.  executed  several 
who  said  that  Richard  had  escaped.  A  remarkable  resemblance  be- 
tween him  and  his  chaplain,  Mandelain,  led  some  to  believe  that  it 
was  the  chaplain  who  suffered  death  and  whose  body  was  shown. 

Extravagance,  Timon  of  Athens,  ii.  1,  2. 

Extravagant  (wandering),  Othello,  i.  1. 

Extremes,  As  You  Like  It,  iv.  1. 

Eyas,  or  eyas-musket  (a  young  hawk).  Merry  Wives  of  Windsor, 
Hi.  3. 

Eye(s),  a  blue  and  sunken,  As  You  Like  It,  Hi.  2  ;  blueness  about 
the  eyes  was  thought  a  sign  of  being  in  love ;  all  senses  locked  in 
the.  Love's  Lal)ow's  Lost,  ii.  1,  near  the  end  ;  a  still-soliciting.  King 
Lear,  i.  1 ;  the  evil  eye,  referred  to  in  the  word  "  o'erlook,"  which 
means  to  cast  the  evil  eye  upon,  in  Merry  Wives  of  Windsor,  v.  5 ; 
Merchant  of  Venice,  Hi.  2;  like  Mars,  Hamlet,  Hi.  2;  doth  not 
behold  itself,  Troilus  and  Cressida,  Hi.  3 ;  spies.  The  Tempest,  v.  1 ; 
coward  gates  of,  As  You  Like  It,  Hi.  5 ;  woman's.  Love's  Labour's 
Lost,  iv.  3 ;  crystal.  Two  Gentlemen  of  Verona,  ii.  4  /  to  be  put  out, 
King  John,  iv.  1 ;  King  Lear,  Hi.  7  ;  praise  of,  Romeo  and  Jtdiet, 
H.  2 :  green  (hazel),  Romeo  and  Jidiet,  Hi.  5,  the  nurse's  speech ; 
closing  in  death,  Antony  and  Cleopatra,  v.  2;  blue,  Venus  and 
Adonis,  I.  48I ;  like  the  moon  in  water,  Venus  and  Adonis,  I.  4-91 : 


116  INDEX  TO  SHAKSPERE'S  WORKS. 

darkened,  Venus  and  AdGiiin,  I.  1037 ;  beauty  of,  Sonnet  xvii. ; 
hearing  with.  Sonnet  xxiii. ;  the  painter.  Sonnet  xxiv. ;  dark.  Son- 
nets cxxvii.,  cxxxii. ;  in  distraction.  Lover's  Complaint,  I.  22. 

Eyebrows,  ladies',  A  Winter's  Tale,  ii.  1. 

Eyelids,  fringed  curtains,  The  Tempest,  i.  2 ;  advanced,  The 
Tempest,  iv:  1. 

Fabian,  a  witty  fellow,  servant  in  the  house  of  Olivia,  in  Twelfth 
Night,  introduced  in  ii.  5. 

Fable,  of  the  fox  and  the  grapes,  AlVs  Well  that  Ends  Well, 
ii.  1 ;  of  the  belly  and  the  other  members,  Coriolanus,  i.  1. 

Face  (to  pretend),  I.  Henry  VI.,  v.  3. 

Face(s),  jest  on  a,  Love's  Labour's  Lost,  v.  2,  "  A  cittern  head,'' 
etc. ;  was  this  the,  Richard  II.,  iv.  i;  a  red,  I.  Henry  IV.,  Hi.  3;  a 
royal,  II.  Henry  IV.,  i.  2 ;  commanding,  Coriolanus,  iv.  5  ;  of  Paris, 
Romeo  and  Juliet,  i.  3  ;  no  art  to  read  the  mind  in,  like  a  book,  Mac- 
beth, i.  4,  5 ;  round,  are  foolish,  Antony  and  Cleopatra,  Hi.  3 ;  ex- 
pression of.  Sonnets  xciii.,  xciv  ;  of  men  and  of  women,  Antony  and 
CJeojKitra,  ii.  6  ;  judgment  of,  Othello,  Hi.  3  ;  pleasant,  Pericles,  i.  L 

Facinorous  (atrocious).  All's  Well  that  Ends  Well,  ii.  3. 

Fact,  those  of  your  (of  the  same  deed  as  you),  A  Winter's  Tale, 
Hi.  2. 

Factions,  cause  weakness,  Troilus  and  Cressida,  i.  3. 

Faculties,  use  of.  Measure  for  Measure,  i.  1,  "  Heaven  doth  with 
us,"  etc. ;  Hamlet,  iv.  4,  "  What  is  a  man,"  etc. ;  Othello,  i.  3,  "  Our 
bodies  are  our  gardens,"  etc. 

Fadge  (to  fit,  or  be  suitable).  Love's  Labour's  Lost,  v.  1 ;  Twelfth 
Night,  H.  2. 

Fadings.     See  Dildos. 

Failure,  the  result  of  striving  for  better  than  well,  King  John, 
iv.  2  ;  of  a  soldier  to  prosper  in  time  of  peace,  Coriolanus,  iv.  7  ;  pos- 
sible, 3Iacbeth,  i.  7. 

Fair,  was  the  morn,  Passionate  Pilgrim,  vH. ;  is  my  love,  ix. 

Fairies,  forms  assumed  by,  and  pranks  of.  The  Tempest,  i.  2 ; 
ii.  2  ;  V.  1 ;  Midsummer-Night' s  Bream,  ii.  1 ;  Romeo  and  Juliet,  i. 
4;  offices  of.  The  Tempest,  v.  1;  rings  made  by  the  dances  of.  The 
Tempest,  v.  1 ;  see  Ringlets  ;  superstitions  regarding,  Merry  Wives 
of  Windsor,  iv.  4- ;  sl  personation  of.  Merry  Wives  of  Windsor,  iv.  4, 
5 ;  death  the  penalty  of  speaking  to,  Merry  Wives  of  Windsor,  v.  5 ; 
land  of,  Comedy  of  Errors,  ii.  2 ;  malevolent,  Cow.edy  of  Errors,  iv. 
2 ;  introduced  as  characters  in  the  Midsummer-Night's  Dream;  lore 


INDEX  TO  SHAESPERE'S   WORKS.  117 

of,  Midsummer- Nighfs  Dream,  ii.  1 ;  swiftness  of — offices  of,  3Iid- 
summer-JS'ighfs  Dream,  in.  1;  gold  of,  A  Winter's  Tale,  Hi.  3  ; 
changelings  of,  1.  Henry  IV.,  i.  1 ;  description  of  Queen  Mab — her 
chariot,  Romeo  and  Juliet,  i.  4;  allusion  to  their  office  in  keeping 
away  worms  from  the  dead,  Cymbeline,  iv.  2;  Midsummer-Nighf s 
Dream,  ii.  2. 

Faith,  plural,  in  love,  Two  Gentlemen  of  Verona,  v.  4  ;  a  charm 
against  witchcraft,  Comedy  of  Errors,  Hi.  2 ;  worn  as  the  fashion, 
Much  Ado  about  Nothing,  i.  1 ;  speaks  from  need,  not  from  faith, 
King  John,  Hi.  1 ;  want  of,  see  Friexds,  Lovers,  Treachery. 

Faitours  (traitors),  II.  Henry  IV.,  ii.  4- 

Falconry,  or  hawking,  allusions  to,  sometimes  called  birding. 
Merry  Wives  of  Windsor,  Hi.  3,  5 ;  iv.2;  the  staniel  (kestrel-hawk). 
Twelfth  Night,  ii,  5 ;  the  tercel-gentle  or  tassel-gentle,  Romeo  and 
Juliet,  ii.  1;  this  is  a  male  goss-hawk,  which  is  gentle  and  easily- 
tamed;  the  gentle  astringer  (hawk-tamer),  AWs  Well  that  Ends 
Well,  V.  i  ;  the  falcon's  bells.  As  You  Like  It,  Hi.  3  ;  III.  Henry  VI., 
i.  1 ;  Lucrece,  I.  511 ;  jesses  (straps  on  the  falcon's  legs  by  which  it 
was  held),  Othello,  Hi.  3  ;  hood  my  unmanned  blood,  Romeo  and  Ju- 
liet, Hi.  2  ;  an  unmanned  hawk,  one  not  used  to  man,  was  hooded  to 
prevent  fright ;  haggards  (wild  hawks).  Much  Ado  about  Nothing, 
Hi.  1,  end ;  Twelfth  Night,  Hi.  1 ;  Othello,  Hi.  3 ;  a,  hooded  valour, 
Henry  V.,  Hi.  7 ;  to  check  (start  away  from  the  lure).  Twelfth  Night, 
Hi.  1 ;  Hamlet,  iv.  7 ;  the  method  of  taming  hawks.  Taming  of  the 
Shrew,  iv.  1;  to  seel  up  the  eyes,  as  was  done  to  the  hawk  in  train- 
ing by  sewing  the  eyelids  up,  II.  Henry  IV.,  Hi.  1 ;  Macbeth,  Hi.  2 ; 
Othello,  i.  3  ;  Hi.  3;  imp,  Richard  II.,  H.  1 ;  to  imp  a  hawk  was  to 
mend  broken  feathers  by  grafting  or  piecing  them  out ;  mailed  up 
(wrapped),  II.  Henry  VI.,  ii.  4 ;  mew  up  or  emmew.  Measure  for 
Measure,  Hi.  1;  Taming  of  the  Shrew,  i.  1 ;  Romeo  and  Juliet,  Hi. 
4;  to  tower,  II.  Henry  VI.,  ii.  1;  Macbeth,  H.  4;  Lucrece,  I.  506 ; 
baiting  (fluttering),  Romeo  and  Juliet,  Hi.  2 ;  to  tire  (feed  raven- 
ously), III.  Henry  VI.,  %.  1 ;  Timon  of  Athens,  Hi.  6  ;  Cymbeline, 
Hi.  4 ;  disedged  (satiated),  Cymbeline,  Hi.  4 ;  whistle  her  oif  and  let 
her  down  the  wind,  Othello,  Hi.  3  ;  will  coast  (hover  about)  my  crown, 
///.  Henry  VI.,  i.  1;  quarry,  Coriolanus,  i,  1;  Macbeth,  iv.  3; 
Hamlet,  V.  2. 

Fall  (let  fall).  Comedy  of  Errors,  ii.  2,  and  elsewhere. 

Fall,  of  Caesar,  the,  Julius  Ccesar,  Hi.  2,  Antony's  speech ;  of 
Percy,  /.  Henry  IV.,  v.  4;  of  a  queen,  Richard  III,  iv.  4;  of  a  king, 
Richard  II.,  Hi.  2;  of  man,  Henry  V.,  ii.  2 ;   of  Woisey,  Henry 


118  INDEX  TO  SHAKSPERE'S   WORKS. 

VIII.,  Hi.  2 ;  of  the  great,  Macbeth,  ii.  4 ;  Antony  and  Cleopatra, 
iii,  10  ;  iv.  10,  13. 

Falling,  the,  cruelty  to,  Henry  VIII.,  iii.  2 ;  v.  2. 

Falling-sickness.     See  Epilepsy,  under  Diseases. 

Falsehood,  caused  by  trust.  The  Tempest,  i.  2 ;  hated  by  women, 
Two  Oentlemen  of  Verona,  iii.  2  ;  in  love.  Two  Gentlemen  of  Verona, 
iv.  2;  goodly  outside  of,  Merchant  of  Venice,  i.  1;  cures  falsehood, 
King  John,  iii.  1 ;  hidden,  Richard  III.,  ii.  1 ;  Cressida  a  name 
for,  Troilus  and  Cressida,  iii.  2 ;  of  Diomed,  Troilus  and  Cres- 
sida, V.  1. 

Falsity,  of  women,  A  Winter's  Tale,  i.  2,  "  Were  they  as  false 
as  o'er  dyed  blacks." 

Falstaff,  Sir  John,  appears  in  the  two  parts  of  Henry  I V.  and 
the  Merry  Wives  of  Windsor.  He  is  the  leader  of  the  dissolute  band 
that  surround  the  Prince  of  Wales.  In  /.  Henry  IV.  he  first  ap- 
pears in  i.  2.  This  scene  and  ii.  4  are  full  of  bantering  epithets  and 
allusions  to  his  size,  directed  against  him  by  his  companions.  His 
adventure  at  Gadshill,  ii.  2;  takes  the  character  of  Henry  IV.,  n.  ^; 
his  account  of  his  soldiers,  iv.  2  ;  he  counterfeits  death  at  the  battle  of 
Shrewsbury,  v.  If..  In  the  Merry  Wives  of  Windsor  he  is  introduced 
in  the  first  scene.  His  character  in  this  play  appears  much  more  de- 
graded than  in  Henry  IV.  The  time  is  probably  shortly  before  the 
death  of  the  king.  His  wit,  or  at  least  his  shrewdness,  seems  to  have 
deserted  him,  and  he  is  outwitted  by  simple  people  whom  he  despises. 
Gervinus,  who  finds  a  moral  design  in  everything,  thinks  that  Shak- 
spere  exhibited  the  deterioration  of  his  character,  and  threw  it  into 
contrast  with  the  ennoblement  of  the  prince's,  to  show  his  essential 
baseness,  and  do  away  with  whatever  bad  impression  may  have  been 
made  by  the  glamour  that  his  wit  throws  over  his  moral  qualities. 
However  that  may  be,  the  reader  is  prepared  by  this  play  for  the  dis- 
grace that  overtakes  him,  which  otherwise  would  seem  cruel  and 
not  altogether  deserved.  His  hypocrisy  and  inconsistency,  ii.  1; 
ridicule  of  his  size,  ii.  1 ;  iii.  5 ;  iv.  4,  5 ;  his  honour,  ii.  2 ;  epithets 
applied  to  him,  i.  3 ;  iii.  1;  v.  5 ;  his  adventure  in  the  buck-basket, 
iii.  3 ;  in  a  woman's  clothes,  iv.  2 ;  at  Heme's  oak  with  the  fairies, 
V.  5.  See  Merry  Wives  of  Windsor.  He  is  introduced  in  II  Hen- 
ry IV.,  in  i.  2,  where  he  talks  with  the  chief  justice ;  arrested  at  the 
instance  of  Mrs.  Quickly,  ii.  1 ;  overheard  by  the  prince  in  disguise, 
ii.  4 ;  ridiculed,  ii.  2,  4  ;  iv.  3  ;  his  recruits  for  the  army,  Hi.  2 ;  his 
expectations  from  the  prince,  v.  3;  disappointed,  v.  5;  banished 
from  the   prince,  v.  5.     His  death  is  described  by  Mrs.  Quickly  in 


INDEX  TO  SHAKSFERE'S    WORKS.  119 

Henry  V.,  ii.  S,  and  he  is  spoken  of  by  Fluellen  in  iv.  7  of  the  same 
play  The  name  of  this  character  was  at  fii-st  Sir  John  Oldcas- 
tle,  q.  V. 

"  Falstaff,  not  a  degraded  man  of  genius,  like  Burns,  but  a  man 
of  degraded  genius,  with  the  same  consciousness  of  superiority  to  his 
companions  [as  lago  and  Richard  III.],  fastened  himself  on  a  young 
prince,  to  prove  how  much  his  influence  on  an  heir-apparent  would 
exceed  that  of  a  statesman.  With  this  view  he  hesitated  not  to  adopt 
the  most  contemptible  of  all  characters,  that  of  an  open  and  professed 
liar ;  even  his  sensuality  was  subservient  to  his  intellect ;  for  he  ap- 
peared to  drink  sack  that  he  might  have  occasion  to  show  oif  his  wit. 
One  thing,  however,  worthy  of  observation,  is  the  perpetual  contrast 
of  labour  in  Falstatf  to  produce  wit  with  the  ease  with  which  Prince 
Henry  parries  his  shafts  ;  and  the  final  contempt  which  such  a  char- 
acter deserves  and  receives  from  the  young  king,  when  Falstaff  ex- 
hibits the  struggle  of  inward  determination  with  an  outward  show  of 
humility." — Coleridge. 

Fame,  all  men  hunt  after,  Love's  Labour's  Lost,  i.  1 ;  antici- 
pated, Henry  V.,  iv.  3 ;  living  in,  Richard  III.,  iii.  1;  of  heroes, 
Troilus  and  Cressida,  ii.  2,  end;  best  gained  in  second  place,  Corio- 
lanus,  i.  1,  end;  fold  in  this  orb,  Coriolanus,  v.  6 ;  of  good  and  evil 
deeds,  Julius  CcBsar,  iii.  2 ;  danger  of  acquiring  too  high  a,  Antony 
and  Cleopatra,  iii.  1 ;  undying.  Measure  for  Jleasare,  v.  1 ;  Richard 
HI,  iii.  1 ;  brevity  of.  Much  Ado  about  Nothing,  v.  2 ;  effect  of, 
Troilus  and  Cressida,  i.  3  ;  I.  Henry  IV.,  v.  4  ;  Henry  VIII.,  iv.,  2  ; 
would  be  exchanged  for  a  pot  of  ale,  Henry  V.,  iii.  2. 

Familiarity,  with  an  inferior,  Comedy  of  Errors,  ii.  2 ;  too 
great,  Hamlet,  i.  3. 

Fam.ily  pride,  of  Sly,  Taming  of  the  Shrew,  induction,  1. 

Fam.ine,  Pericles,  i.  4;  makes  valiant,  Cymbeline,  iii.  6. 

Fancies,  the  humour  of  forty,  stuck  for  a  feather  in  an  old  hat, 
Taming  of  the  Shrew,  iii.  2. 

Fancy,  where  bred.  Merchant  of  Venice.  Hi.  2,  song ;  sweet  and 
bitter.  As  You  Like  It,  iv.  3  ;  (love)  followers  of,  Midsummer-Nigh  fs 
Dream,  i.  1 ;  full  of  shapes.  Twelfth  Night,  i.  1 ;  nature  wants  stuff 
to  vie  with,  Antony  and  Cleopatra,  v.  2 ;  every  one  to  his  own,  AlVs 
Well  that  Ends  Well,  iv.  1. 

Fancy-free,  Midsummer-NigM s  Dream,  ii.  2. 

Fang,  one  of  the  sheriff's  oiiicers  in  II.  Henry  IV.,  who  appears 
in  ii.  1. 

Fangled  (capricious),  Cymheline,  v.  4. 

Fap  (tipsy),  Mer^  y  Wives  of  Windsor,  i.  1. 

Fare-well(s),  to  greatness,  Henry  VIII,   iii.  2;    Troilus  and 


120  INDEX  TO  SHAKSPEEE'S    WORKS. 

Cressida,  iv.  If.;  an  everlasting,  Julius  Ccesar,  v.  I;  Antony  and, 
Cleopatra.  Hi.  2  ;  Sonnet  Ixxxvii.     See  Parting. 

Farmer,  the,  that  hanged  himself,  Uacbeth,  ii.  3. 

Farthingale,  Tivo  Gentlemen  of  Verona,  ii.  7 ;  Merry  Wives  of 
Windsor,  Hi.  3  ;  Taming  of  the  Shrew,  iv.  3. 

Fashion,  wears  out  more  apparel  than  the  man — a  deformed 
thief,  JIuch  Ado  about  Nothing,  Hi.  3 ;  infected  with.  Taming  of 
the  Shrew,  Hi.  2 ;  following  the,  AlVs  Well  that  Ends  Well,  ii.  1 ; 
from  Italy,  Richard  II.,  ii.  1,  common  in  Shakspere's  time  but  not 
at  time  of  the  play;  of  France,  Henry  VIII.,  i.  3;  behind  the, 
Julius  Cmsar,  iv.  1,  Antony  speaking  on  Lepidus;  the  glass  of, 
Hamlet,  Hi.  1 ;  in  speech,  Hamlet,  v.  2 ;  garments  out  of,  Cymbeline, 
Hi.  4;  less  without,  and  more  within,  a  new,  Cymheline,  v.  1. 

Fast  and  Loose,  Antony  and  Cleopatra,  iv.  10  or  12,  a  game 
played  by  gypsies.  A  belt  was  folded  and  knotted  up  and  placed  on 
a  table,  and  the  victim  made  a  wager  that  he  could  hold  it  fast  to 
the  table  ;  he  would  then  place  a  skewer  through  what  seemed  to  be 
the  central  fold,  when  the  gypsy  would  take  hold  of  the  two  ends 
and  pull  it  away. 

Fastidiousness,  the  extreme  of,  /.  Henry  I V.,  i.  3,  Hotspur's 
description. 

Fasting,  oath  concerning.  Love's  Labour's  Lost,  i.  1 ;  effect  of, 
on  the  disposition,  Coriolanus,  v.  1. 

Fastolfe,  Sir  John,  character  in  /.  Henry  VI.  He  was  lieuten- 
ant-general to  Bedford  in  Normandy,  and  deputy  regent.  His  cow- 
ardice at  the  siege  of  Orleans  is  spoken  of  in  i.  1,  and  Talbot  exe- 
crates him  in  i.  Jf,.  He  first  appears  in  Hi.  2,  and  is  deprived  of  the 
garter  and  banished  in  iv.  1.     He  died  in  1469. 

Fat,  to  be,  to  be  hated,  L  Henry  IV.,  ii.  4;  men,  Merry  Wives 
of  Windsor,  ii.  1 ;  men,  not  dangerous,  Julius  Ccesar,  i.  2 ;  woman, 
description  of  a,  Comedy  of  Errors,  Hi.  2. 

Fatality,  Jleasure  for  Jleasure,  "  The  words  of  heaven,"  etc. ; 
Hamlet,  v.  2,  "  There's  a  divinity,"  etc. ;  King  Lear,  i.  2,  "  This  is 
the  excellent  foppery,"  etc.     See  also  Free  Will. 

Fate,  The  Tempest,  Hi.  3 ;  no  escape  from.  Love's  Labour's  Lost 
iv.  3,  "  The  sea  will  ebb,"  etc. ;  malignancy  of,  Twelfth  Night,  ii.  1 ; 
the  book  of,  II.  Henry  IV.,  Hi.  1;  no  resisting,  III.  Henry  VI.,  iv. 
3 ;  men  masters  of  their,  Julius  Ccesar,  i.  2 ;  unavoidable,  Julius 
Ciesar,  ii.  2 ;  Othello,  v.  2 ;  Hamlet,  Hi.  2 ;  v.  2 ;  in  an  auger-hole, 
Macbeth,  ii.  3  ;  challenge  to,  Macbeth,  Hi.  1 ;  makes  desperate,  Ham- 
let, i.  4  ;  bewailing  one's,  Sonnet  xxix. 


INDEX  TO  SHAKSPERE'S   WORKS.  121 

Father,  praise  by  a,  The  Tempest,  iv.  1 ;  an  angry,  Two  Gentle- 
men of  Verona,  iii.  1;  shame  of  a,  Much  Ado  about  Nothing,  iv.  1; 
that  knows  his  child,  Merchant  of  Venice,  ii.  2  ;  right  of  a,  Midsum- 
mer-Nighfs  Bream,  i.  i  ;  at  his  son's  nuptial,  A  Winter's  Tale,  iv. 
3  ;  anger  of  a,  A  W%nter's  Tale,  iv.  4  ;  vote  of,  against  a  son,  Rich- 
ard II.,  i.  3 ;  judgment  on  a,  1.  Henry  IV.,  iii.  2  ;  desperation  of  a, 
//.  Henry  IV.,  i.  1 ;  cares  of  a,  //.  Henry  IV.,  iv.  4 ;  grief  of  a, 
Titus  Andronicus,  iii.  1;  anger  of  a.  King  Lear,  i.  i;  in  rags.  King 
Lear,  ii.  4  ;  who  would  be  a,  Othello,  i.  1 ;  an  infirm,  Sonnet  xxxvii ; 
duty  to  a,  and  to  a  husband,  Othello,  i.  3. 

Fauconberg,  mentioned,  Henry  V.,  iii.  6  ;  iv.  8. 

Faulconbridge,  an  English  baron,  one  of  the  suitors  of  Portia, 
mentioned  in  Jlerclumt  of  Venice,  i.  2. 

Faulconbridge,  Philip,  half-brother  of  Robert  F.,  in  King  John, 
and  natural  son  of  Richard  I.,  enters  in  the  first  scene.  His  name  is 
changed  by  John  to  Richard  Plantagenet.  He  is  cynical,  coarse,  and 
skeptical  in  conversation,  but  brave,  straightforward,  and  patriotic 
in  action.  He  revolts  at  the  murder  of  Arthur,  iv.  3,  but  will  not  on 
that  account  turn  against  his  country  as  Salisbury  does. 

Faulconbridge,  Robert,  son  of  Sir  Robert  Faulconbridge,  char- 
acter in  Ki7ig  John,  first  appears  in  i.  1. 

Faulconbridge,  Lady,  character  in  King  John,  introduced  in 
the  first  scene. 

Faulconbridge,  William  Neville,  Lord,  mentioned  in  the  third 
part  of  King  Henry  VI. 

Fault,  sometimes  used  for  misfortune. 

Fault(s),  condemn  the.  Measure  for  Measure,  ii.  2  ;  best  mould- 
ed out  of.  Measure  for  Measure,  v.  1;  hearing  one's.  Much  Ado  about 
Nothing,  ii.  3 ;  excuses  make  worse.  King  John,  tv.  2 ;  turned  to 
good,  II.  Henry  IV.,  i.  2,  "I  will  turn  diseases  to  commodity";  of 
the  rich,  Timon  of  Athens,  i.  2 ;  one,  Hamlet,  i.  4;  truth  about, 
Antony  and  Cleopatra,  i.  2 ;  made  glaring  by  virtues,  Antony  and 
Cleopatra,  i.  4  ;  punishment  of,  Cymbeline,  v.  1,  "  You  snatch  some 
hence,"  etc. ;  all  men  make,  Sonnet  xxxv. ;  made  graces,  Sonnet  xcvi  ; 
his  worst  is,  that  he  is  given  to  prayer.  Merry  Wives  of  Windsor, 
i.  4',  abundance  of,  As  You  Like  It,  iii.2  ;  of  men.  Much  Ado  about 
Nothing,  iv.  1;  Coriolanus,  i.  1 ;  a,  headstrong.  Twelfth  Night,  iii. 
^ ;  a  man  is  the  abstract  of  all,  Antony  and  Cleopatra,  i.  4. 

Fauste,  precor,  etc.  (Faustus,  I  pray  when  the  herd  chews  the 
cud  in  the  cool  shade).  Love's  Labour's  Lost,  iv.  2.  A  quotation 
from  Battista  Spagnolus,  of  Mantua. 


122  INDEX  TO  SRAKSPERE\S   WORKS. 

Faustus,  Dr.,  Merry  Wives  of  Windsor,  iv.  5. 

Favour,  of  the  great,  Richard  III.,  Hi.  4;  Cymheline,  v.  4, 

Favour,  defeat  thy  (disguise  thy  face),  Othello,  i.  3. 

Favourites,  that  abuse  their  privilege,  //.  Henry  IV.,  iv.  S; 
Much  Ado  about  Nothing,  Hi.  1. 

Fawning,  Julius  Ccesar,  i.  2  ;  Hi.  1;  Richard  II.,  ii. ,?;  "  Grace 
me  no  grace,"  etc. 

Fay  (faith),  Hamlet,  ii.  2. 

Fear  (to  frighten).  Taming  of  the  Shrew,  i.  2,  and  elsewhere. 

Fear,  gives  the  foe  strength,  Richard  II.,  Hi.  2 ;  this  living, 
Richard  II.,  v.  4 ;  not  spoken  of  in  Scotland,  I.  Henry  lY.,  iv.  1 ; 
of  death,  Julius  Ccesar,  ii.  2 ;  Hamlet,  i.  4;  impostors  to  true,  Mac- 
beth.  Hi.  4 ;  pale-hearted,  Macbeth,  iv.  1 ;  v.  3 ;  expression  of,  Cym- 
heline,  Hi.  4;  extreme,  Lucrece,  I.  230 ;  most  accursed  of  all  base 
passions,  I.  Henry  VI.,  v.  2 ;  &,  sm  in  war,  Cymbeline,  v.  3 ;  leads 
to  hate,  Antony  and  Cleopatra,  i.  3;  led  by  reason,  Troilus  and 
Cressida,  Hi.  2. 

Fear  no  more  the  heat  of  the  sun,  song,  Cymbeline,  iv.  2. 

Fears,  of  a  woman.  King  Jolin,  Hi.  1 ;  make  devils  of  cherubins, 
Troilus  and  Cressida,  Hi.  2 ;  make  traitors,  Macbeth,  iv.  2 ;  taste  of, 
forgotten,  Macbeth,  v.  5. 

Feast(s),  beginning  of,  suits  a  keen  guest,  /.  Henry  IV.,  iv.  2  ; 
to  false  friends  a,  Timon  of  Athens,  Hi.  6  ;  must  be  given  with  wel- 
come, 31acbeth,  Hi.  4;  a  good  man's.  As  You  Like  It,  v.  1 ;  sheep- 
shearing,  A  Wi7iter's  Tale,  iv.  4  ;  Capulet's,  Romeo  and  Juliet,  i.  2. 

Feated  (moulded),  Cymbeline,  i.  1. 

Feather,  life  tested  by  a,  King  Lear,  v.  3  ;  II.  Henry  IV.,  iv.  4. 

Federary  (confederate),  A  Winter's  Tale,  H.  1. 

Feehle,  a  recruit  in  II  Henry  IV.,  appears  in  Hi.  2. 

Feeders  (dependents),  Antony  and  Cleopatra,  Hi.  11  or  13. 

Feeding  (pasture  tract),  A  Winter's  Tale,  iv.  3  or  4. 

Feint,  a,  Othello,  i.  3. 

Fellow-feeling,  Merry  Wives  of  Windsor,  ii.  2,  "  Sir,  I  hear," 
etc. ;  Measure  for  Jleasure,  H.  2  ;  Hi.  2. 

Fencing,  allusions  to,  and  terms  of.  Merry  Wives  of  Windsor,  i. 
1 ;  ii.  3 ;  Hi.  2 ;  Love's  Labour's  Lost,  i.  2 ;  v.  1 ;  description  of, 
Hamlet,  iv.  7  or  4.  "  Feney  "  or  "  venue  "  and  "  staccato  "  signrSy  a 
quick,  sharp  stroke ;  "  montant "  or  "  montanto,"  an  upward  thrust ; 
"  punto  reverso,"  a  backward,  and  "  passado,"  a  forward  thrust. 

Fennel,  //.  Henry  IV,  ii.  4;  Hamlet,  iv.  5.  Fennel  was  hot, 
find  therefore  deemed  exciting ;  it  was  also  emblematic  of  a  flatterer. 


INDEX  TO  SHAKSPERE'S  WORKS.  123 

Fenton,  a  gentleman  in  the  Merry  Wives  of  Windsor,  a  suitor 
and  afterward  the  husband  of  Anne  Page.  He  ha^i  formerly  been 
one  of  the  prince's  roguish  companions,  but  through  the  influence  of 
Anne  Page,  whom  he  at  first  seeks  for  her  money,  his  character  is 
transformed.     He  first  appears  in  ^.  4. 

Feodaiy  (companion),  Pleasure  for  Measure,  ii.  4 ;  Cymheline, 
Hi.  2. 

Ferdinand,  son  of  the  King  of  Naples  in  Tlie  Tempest,  intro- 
duced in  i.  2,  and  the  lover  of  Miranda. 

Ferdinand,  King  of  Navarre,  character  in  Love's  Labour's  Lost, 
introduced  in  the  first  scene.  He  has  set  up  a  "  little  Academe,"  a 
school  of  culture  for  himself  and  three  companions.  That  for  women 
in  Tennyson's  "  Princess  "  is  somewhat  after  the  same  plan. 

Fere  (mate),  Titus  Andronicus,  iv.  1 ;  Pericles,  i.,  prologue. 

Fern-seed,  /.  Henry  1 V.,  ii.  1.  It  was  supposed  to  render  one 
invisible. 

Ferrers,  Walter,  Lord,  his  death,  Richard  III.,  v.  5. 

Feste,  the  fool  in  Twelfth  Night,  introduced  in  i.  5,  one  of 
Shakspere's  airiest  and  most  delicate  clowns. 

Festinate,  -ly  (speedy,  speedily),  Love's  Labour's  Lost,  Hi.  1 ; 
King  Lear,  Hi.  1. 

Festival,  a  Roman,  Julius  Ccesar,  i.  2. 

Fet  (fetched),  Henry  Y.,  Hi.  1. 

Fettle  (prepare),  Romeo  and  Juliet,  Hi.  5. 

Feuds,  between  Somerset  and  Plantagenet,  /.  Henry  VI.,  ii.  4.  ; 
between  their  adherents,  Hi.  4  /  *^'-  ^,  3 ;  between  Gloucester  and 
Winchester,  I.  Henry  VL,  i.  3 ;  Hi.  1 ;  v.  1 ;  II.  Henry  VI.,  i.  1 ; 
ii.  1;  between  Wolsey  and  Buckingham,  Henry  VII I.,  i.  1;  of 
Montague  and  Capulet,  Romeo  and  Juliet,  i.  1,  5  ;  Hi.  1;  v.  3. 

Fever,  a  fit  of  madness.  Comedy  of  Errors,  v.  1 ;  sensations  di. 
King  John,  v.  7. 

Fewness  (few  words),  Measure  for  Measure,  i.  5. 

Fickleness,  Two  Gentlemen  of  Verona,  ii.  4  /  Twelfth  Night,  H. 
4.    See  Inconstancy. 

Fico  (fig).  Merry  Wives  of  Windsor,  i.  3  ;  Henry  V.,  Hi.  6. 

Fidelity.     See  Constancy,  Faith,  Loyalty. 

Fie  on  sinful  fantasy,  song,  Merry  Wives  of  Windsor,  v.  5. 

Field  of  the  Cloth  of  Gold,  expense  of,  Henry  VIII.,  i.  1. 

Fiend(s),  temptations  of.  Merchant  of  Venice,  ii.  2  ;  summoned 
by  Joan,  /.  Henry  VI.,  v.  3  ;  lies  like  truth,  Macbeth,  v.  5  ;  descrip- 
tion of  a,  King  Lear,  iv.  6.    See  Mahu. 


124  INDEX  TO  SIIAKSPERE';S  WORKS. 

Fife,  the  wry-necked,  3Ierchant  of  Venice,  ii.  5. 

Fife,  in  Scotland,  scene  of  a  part  of  Macbeth.  Macduff  was 
Thane  of  Fife. 

Fife,  Mordake,  Earl  of,  spoken  of  in  /.  Henry  IV.,  i.  1,  as  son 
of  Douglas,  was  son  of  the  Duke  of  Albany.  The  mistake  was  occa- 
sioned by  an  ambiguity  in  Holinshed,  caused  by  defective  punctua- 
tion. 

Fifteens  (fifteenths  of  the  personal  property),  one-and-twenty, 
II.  Henry  VI.,  iv.  7. 

Fighting,  by  book,  Romeo  and  Juliet,  Hi.  1. 

Fights  (pieces  of  cloth  hung  around  a  ship  to  keep  men  out  of 
sight  during  an  engagement).  Merry  Wives  of  Windsor,  ii.  2. 

Fights,  As  You  Like  It,  i.  1 ;  Twelfth  Night,  iv.  1 ;  v.  1 ;  Troi- 
lus  and  Cressida,  iv.  5. 

Filberts,  The  Tempest,  ii.  2. 

File  (number).  Measure  for  Measure,  Hi.  2. 

File,  the  valued  (list  with  estimates  of  value),  Macbeth,  Hi.  1. 

Filed  (polished).  Love's  Labour's  Lost,  v.  1. 

Filial  love  and  duty.  Two  Gentlemen  of  Verona,  Hi.  1;  A 
Winters  Tale,  iv.  4;  King  Lear,  i.  4;  ii.  1,  4;  iv.  2,  7. 

Fineless  (endless),  Othello,  Hi.  3. 

Finsbury,  I.  Henry  IV.,  Hi.  L  Then  open  fields  and  a  favourite 
resort,  now  a  part  of  London. 

Fire,  that's  closest  kept,  Two  Gentlemen  of  Verona,  i.2 ;  shunned, 
Two  Gentlemen  of  Verona,  i.  3;  cannot  melt  out  of  me.  Much  Ado 
about  Nothing,  i.  1;  drives  out  fire,  Coriolanus,  iv.  7 ;  a  mighty,  Ju- 
lius Ccesar,  i.  3  ;  a.  wheel  of.  King  Lear,  iv.  7. 

Fire-drake  (variously  explained  as  the  Will  o'  the  wisp,  a  sort  of 
firework,  and  a  mild  form  of  lightning),  Henry  VIII.,  v.  4.. 
'     Fire-new  (brand-new).  Love's  Labour's  Lost,  i.  1,  and  elsewhere. 

Fire  out.  Sonnet  cxliv. 

Fires  (a  disease  like  the  strangles).  Taming  of  the  Shrew,  Hi.  2. 

Firmament,  the,  Hamlet,  ii.  2,  "  I  will  tell  you  why,"  etc. 

Firmness,  Julius  CcBsar,  Hi.  1. 

Fish,  to  eat  no.  King  Lear,  i.  4 ;  of  fortune's  buttering,  All's 
Well  that  Ends  Well,  v.  2 ;  finless,  Comedy  of  Errors,  Hi.  1;  I. 
Henry  IV.,  Hi.  1. 

Fishermen,  moralizing  by,  Pericles,  H.  1. 

Fishes,  the  great  eat  the  little,  Pericles,  H.  1. 

Fishing,  nothing  to  be  got  nowadays  except  by,  Pericles,  ii.  1. 
Fistula,  disease  of  the  king,  All's  Well  that  Ends  Well,  i.  L 


INDEX  TO  SHAKSPERE'S   WORKS.  125 

• 

Fitcliew  (pole-cat),  Othello,  iv.  1,  and  elsewhere. 

Fitzwalter,  a  character  in  Richard  II.,  introduced  in  iv.  1. 

Flaminius,  a  servant  of  Timon  of  Athens,  introduced  in  ii.  2. 
Owing  to  confusion  in  the  original  copy,  where  the  steward  is  some- 
times known  as  Flavius,  and  that  name  is  also  given  to  this  servant, 
later  editions  vary.    See  Flavius. 

Flannel,  made  in  Wales,  Merry  Wives  of  Windsor,  v.  5. 

Flap-dragons,  Love's  Labour's  Lost,  v.  1 ;  A  Winter's  Tale,  Hi. 
3 ;  II.  Henry  IV.,  H.  4.  Substances  set  on  fire  and  placed  on  the 
top  of  liquor,  skill  being  required  to  drink  without  being  burned. 
Sometimes  they  were  candle-ends. 

Flatterers,  of  a  king,  Richard  II.,  ii.  1 ;  of  the  rich,  Timon  of 
Alliens,  i.  1,  2 ;  ingratitude  of,  Timon  of  Athens,  ii.  2 ;  Hi.  2,  5 ; 
all  men  are,  Timon  of  Athens,  iv.  3 ;  Julius  Ccesar,  ii.  1;  iv.  3 ;  v. 
1 ;  Passionate  Pilgrim,  xx. 

Flattery,  of  Falstaff,  Merry  Wives  of  Windsor,  ii.  2 ;  Hi.  3 ; 
of  Evans,  Merry  Wives  of  Windsor,  Hi.  1;  of  Mrs.  Ford,  Merry 
Wives  of  Windsor,  Hi.  3  ;  conquers  strife.  Comedy  of  Errors,  Hi.  2  ; 
Love's  Labour's  Lost,  ii.  1 ;  of  Hero,  Much  Ado  about  Nothing,  Hi.  4 ,' 
As  You  Like  It,  ii.  1 ;  of  a  king,  Richard  II.,  i.  1 ;  Hi.  2  ;  thought 
truth,  I.  Henry  IV.,  iv.  1 ;  of  King  James  I.,  Henry  VIII,  v.  5 ; 
poured  on  AJax,  Troilus  and  Cress ida,  ii.  3 ;  of  the  people,  Corio- 
lanus,  ii.  2  ;  Hi.  ^ ;  contempt  for,  Coriolanus,  Hi.  1,  '•  Neptune  for 
his  trident,"  etc. ;  men  deaf  to  counsel,  but  not  to,  Timon  of  Athens, 
i.  2  ;  Hi.  3  ;  necessity  for,  Macbeth,  Hi.  2  ;  profitable,  Hamlet,  Hi.  2, 
to  Horatio;  Othello,  iv.  2,  "I  grant,  indeed,"  etc.;  King  Lear,  i,  1; 
fault  contrary  to  —  sarcastic.  King  Lear,  ii.  2;  Cymbeline,  i.  6; 
Pericles,  i.  2  ;  iv.  4  ;  which  melteth  fools,  Julius  Ccesar,  Hi.  1. 

Flavius,  a  gentleman,  mentioned  in  Measure  for  Measure, 
iv.  5. 

Flavius,  one  of  the  tribunes  in  Julius  Ccesar,  first  appears  in  i.  1. 
See  Marullus. 

Flavius,  steward  of  Timon  of  Athens,  introduced  in  i.  2.  In 
some  editions  he  is  mentioned  simply  as  the  steward,  and  those  copies 
have  the  name  Flavius  for  the  servant  Flaminius.  The  difference 
arises  from  some  confusion  in  the  original  copy.  The  steward  re- 
mained faithful  and  disinterested  after  Timon's  false  friends  had 
deserted  him,  iv.  3,  end. 

Flaws  (sudden  gusts  of  wind),  //.  Henry  IV.,  iv.  4 ;  II.  Henry 
VI.,  Hi.  1 ;   Venus  and  Adonis,  I.  456. 

Fleance,  son  of  Banquo,  in  Macbeth,  first  appears  in  ii.  1.  In 
9 


126  INDEX  TO  SHAKSPERE'S  WORKS. 

Hi.  3,  he  escapes  from  the  mui'derers  that  are  set  upon  him  and  his 
father. 

Fleece,  hair  like  a  golden,  Jlerchant  of  Venice,  i.  1 ;  Hi.  2, 

Fleet,  description  of  a,  Henry  V.,  Hi.,  chorus. 

Fleet  (the  prison),  II.  Henry  IV.,  v.  5. 

Flemish  drunkard,  a.  Merry  Wives  of  Windsor,  ii.  1. 

Flesh,  the  pound  of,  Merchant  of  Venice,  i.  3 ;  Hi.  1,  3,  5 ;  iv, 
1 ;  as  regards  the  original  story,  see  under  Merchant  of  Venice  ; 
and  blood,  my  own.  Merchant  of  Venice,  Hi.  1 ;  more,  more  frailty, 
1.  Henry  IV.,  Hi.  3  ;  this  too  solid,  Hamlet,  i.  2. 

Fleur-de-lys.     See  Flower-de-luce. 

Flew'd  (with  flews  or  large  chaps),  Midsummer-Nighfs  Dream^ 
iv.  1. 

Flibbertigibbet,  a  fiend,  King  Lear,  Hi.  4  ;  iv.  1.    See  Mahu. 

Flight,  of  Hotspur's  soldiers,  II.  Henry  IV.,  i.  1 ;  of  Antony  at 
Actium,  Antony  and  Cleopatra,  Hi.  8  or  10, 11  or  13 ;  Macbeth,v.  3. 

Flint  Castle,  in  Wales,  scene  of  Richard  II.,  Hi.  3. 

Flirtation,  Hamlet,  i.  3,  "  The  trifling  of  his  favours,"  etc. 

Flood,  the  great,  Julius  Ccesar,  i.  2.     Deucalion's  (g.  v.). 

Flood,  loss  by.  King  John,  v.  6,  7.  John  once  lost  his  baggage 
and  treasure  by  a  flood  while  on  his  way  from  Lynn  to  Lincolnshire. 

Florence,  Italy,  scene  of  a  part  of  AlVs  Well  that  Ends  Well. 

Florence,  Duke  of,  an  unimportant  character  in  AlFs  Well  that 
Ends  Well,  introduced  in  Hi.  1. 

Florentius,  Taming  of  the  Shrew,  i.  2.  Allusion  to  an  old  story 
told  by  Gower  in  "Confessio  Amantis."  Florentius  bound  himself 
to  marry  a  deformed  hag  if  she  would  solve  for  him  a  riddle  on  which 
his  life  depended. 

Florizel,  character  in  A  Wiyiter's  Tale,  first  appears  in  iv.  4. 
He  is  the  son  of  the  King  of  Bohemia  and  lover  of  Perdita,  to  whom 
he  is  first  known  as  Doricles.  His  character  is  pure,  disinterested, 
and  romantic. 

Flote  (wave),  The  Tempest,  i.  2. 

Flout  'em  and  scout  'em,  song,  The  Tempest,  Hi.  2. 

Flower-de-luce,  A  WHiter's  Tale,  iv.  3  or  4 ;  I.  Henry  VI.,  i. 
2 ;  II.  Henry  VI,  v.  1;  cropped  on  the,  /.  Henry  VI.,  i.  1,  alluding 
to  the  losses  in  France ;  the  three  fleurs-de-lis  of  France  were  on  the 
arms  of  England  until  the  beginning  of  this  century.  It  is  a  corrup- 
tion of  '•  Fleur  de  Louis,"  from  Louis  VII.,  who  chose  it  for  his  em- 
blem when  about  to  start  on  his  crusade. 

Flower(s),  Two  Gentlemen  of  Verona,  ii.  4  ;  Midsummer-NighVt 


INDEX  TO  SHAKSPERE'S  WORKS.  127 

Dream,  ii.  1,2;  A  Winter\s  Tale,  iv.  4;  significance  of,  Hamlet,  iv. 
5  (or  2) ;  Romeo  and  Juliet,  iv.  5  ;  Hamlet,  v.  1 ;  for  the  dead,  Cym- 
heiine,  iv.  2  ;  Pericles,  iv.  1 ;  from  the  blood  of  Adonis,  Venus  and 
Adonis,  I.  1168. 

Fluellen,  a  Welshman,  character  in  Henry  V.,  introduced  in 
iii.  2.  He  talks  with  an  affectation  of  learning,  but  is  in  reality- 
straightforward,  simple,  true,  and  serious.  In  iv.  1  the  king  says  of 
him : 

"  Though  it  appear  a  little  out  of  fashion. 
There  is  much  care  and  valour  in  this  Welshman." 
The  name  is  found  among  those  of  contemporaries  of  Shakspere  at 
Stratford. 

Flute,  Francis,  a  bellows-mender,  character  in  Midsummer- 
Nigh  fs  Bream,  introduced  in  i.  2.  He  takes  the  part  of  Thisbe  in 
the  play  before  the  duke. 

Fly,  killing  of  a,  Titus  Andronicus,  Hi.  2.  Perhaps  an  allusion 
to  the  belief  that  evil  spirits  sometimes  took  the  form  of  a  fly. 

Foe,  a  furnace  heated  for  a,  Henry  VIII.,  i.  1;  my  dearest, 
Hamlet,  i.  2. 

Foes,  profit  by,  in  self-knowledge,  Tivelfth  Night,  v.  1. 

Foil,  use  of  a,  I.  Henry  IV.,  i.  2,  end. 

Foins  (passes  in  fencing),  3Iuch  Ado  about  Nothing,  v.  i  ;  King 
Lear,  iv.  6. 

Foison  (abundance),  The  Tempest,  iv.  1 ;  Macbeth,  iv.  3. 

Foix,  a  French  lord,  killed  at  Agincourt,  mentioned,  Henry  V., 
iii.  5  ;-  iv.  8. 

Folly,  of  love.  Two  Gentlemen  of  Verona,  i.  1;  ii.  1;  of  the 
wise.  As  You  Like  It,  ii.  7 ;  Love's  Labour's  Lost,  v.  2 ;  waited  on 
by  wisdom,  AlVs  Well  that  Ends  Well,  i.  1;  of  fools  and  wise, 
Twelfth  Night,  iii.  1. 

Food,  influence  of.  Comedy  of  Errors,  ii.  2 ;  Love's  Labour's 
Lost,  i.  1.    See  Beef. 

Fool,  of  King  Lear,  the,  introduced  in  i.  4,  of  the  play. 

"  The  fool  is  no  comic  buffoon  to  make  the  groundlings  laugh. 
...  He  is  as  wonderful  a  creation  as  Caliban ;  his  wild  babblings 
and  inspired  idiocy  articulate  and  gauge  the  horrors  of  the  scene." 
— Coleridge. 

Fool-begg'd  patience,  Comedy  of  Errors,  H.  1.  Supposed 
allusion  to  the  custom  of  oegging  the  king  for  the  guardianship  of 
rich  idiots. 

Foolhardiness,  Cymbeline,  iv.  2,  "Being  soartie  madp  up,"  etc. 


128  INDEX  TO  SHAKSPERE'S  WORKS. 

Fooling,  Twelfth  Night,  ii.  3 ;  Troilus  and  Cressida,  v.  2; 
Ilamht,  in.  2, 

Foolishness,  monopoly  of,  King  Lear,  i.  4. 

Fool(s),  let  me  play  the,  Merchant  of  Venice,  i.  1 ;  whetstones 
of  wit,  As  You  Like  It,  i.  2  ;  wit  of.  As  You  Like  It,  i.  2 ;  to  call, 
As  You  Like  It,  ii.  5 ;  a.  motley,  As  You  Like  It,  ii.  7  ;  liberty  of, 
As  You  Like  It,  ii.  7 ;  thinks  he  is  wise.  As  You  Like  It,  v.  1 ; 
made  better  by  infirmity.  Twelfth  Night,  i.  5 ;  wise  men  that  crow 
at,  Twelfth  Night,  i.  5  ;  no  slander  in,  Twelfth  Night,  i.  5 ;  wit  re- 
quired for  playing  the.  Twelfth  Night,  Hi.  1 ;  Troilus  and  Cressida, 
ii.  3  ;  livery  of,  white  and  green,  Romeo  and  Juliet,  ii.  2  ;  old.  King 
Lear,  i.  3  ;  constancy  for.  King  Lear,  ii.  4 ;  of  fortune,  King  Lear, 
iv.  6  ;  to  suckle,  Othello,  ii.  1 ;  a  son  of  a  crafty  devil,  Cymheline, 
ii.  1;  bolt  of,  soon  shot  (proverb),  Henry  V.,  Hi.  7 ;  paradise  of, 
Romeo  and  Juliet,  ii.  4. ;  let  him  play  the  fool  nowhere  but  in  his 
own  house,  Hamlet,  Hi.  1. 

Football,  allusions,  Comedy  of  Errors,  ii.  1 ;  King  Lear,  i.  4. 

Foot  land-rakers  (footpads),  /.  Henry  IV.,  ii.  1. 

Footsteps,  light,  Venus  and  Adonis,  I.  1028. 

Fop,  a,  AWs  Well  that  Etids  Well,  ii.  5,  "  The  soul  of  this  man 
is  in  his  clothes."    See  Dandy. 

Fopp'd  (fooled),  Othello,  iv.  2. 

Forbid  (bewitched,  set  apart),  Macbeth,  i.  3. 

Ford,  Frank,  a  character  in  the  Merry  Wives  of  Windsor,  intro- 
duced in  ii.  1.  Pistol  arouses  his  jealousy  toward  Falstaff,  and  he 
disguises  himself,  and  is  introduced  to  the  knight  as  Mr.  Brook. 

Ford,  Mistress,  one  of  the  Merry  Wives  of  Windsor.  Incensed 
by  Falstaff's  outrageous  love-making,  she  and  Mrs.  Page,  to  whom 
he  had  sent  the  "  twin  brother  "  of  the  love-letter  he  sent  to  her, 
combine  to  punish  him,  and  their  scheme  forms  the  plot  of  the  play. 

Fordham,  John.    See  Ely,  Bishop  of. 

Fordoes  (undoes),  Hamlet,  ii.  1;  Othello,  v.  1. 

Foreboding,  A  Winter's  Tale,  Hi.  3,  "  The  skies  look  grimly  ;  " 
Richard  II.,  H.  2,  "  Some  unborn  sorrow  is  coming  toward  me ; " 
Henry  V.,  iv.  1,  "  Even  as  wrecked  men ; "  Romeo  and  Juliet,  i.  4, 
"  Some  consequence  yet  hanging  in  the  stars ; "  Hi.  5,  "  I  have  an 
Ul-divining  soul ;  "  Macbeth,  ii.  1,  "  A  heavy  summons  lies  like  lead 
upon  me."     See  Omens. 

Foreheads,  low.  The  Tempest,  iv.  1 ;  Two  Gentlemen  of  Verona, 
iv.4;  Antony  and  Cleopatra,  Hi,  3;  armed  and  reverted.  Comedy 
of  Errors,  Hi.  2. 


INDEX  TO  SHAKSPERE'S   WORKS.  129 

Forester,  a  character  in  Love' s  Labour' s  Lost,  introduced  in  iv.  1. 

Forfeit,  all  souls  were  once,  Measure  for  Measure,  ii.  2. 

Forfeits  (fines  on  loungers),  Measure  for  Measure,  v.  1. 

Forgery  (imagination),  Hamlet,  iv.  7  (or  4). 

Forgetfulness,  like  a  dull  actor  now,  I  have  forgot  my  part, 
Coriolanus,  v.  3. 

Forgiveness,  Tempest,  v.  1;  All's  Well  that  Ends  Well,  v.  3  ; 
Hamlet,  Hi.  3 ;  Cymheline,  v.  5 ;  Two  Gentlemen  of  Verona,  v.  4; 
All's  Well  that  Ends  Well,  v.  3.  It  was  an  old  custom  for  the  exe- 
cutioner to  ask  forgiveness  of  the  condemned  before  inflicting  the 
penalty.    See  also  Mercy  and  Pardon. 

Formal  (normal).  Comedy  of  Errors,  v.  1 ;  Antony  and  Cleopatra, 
ii.  5  ;   Twelfth  Night,  ii.  5. 

Forms,  effect  of  changing  old,  King  John,  iv.  2. 

Forres,  a  town  about  twenty-five  mUes  from  Inverness,  on  the 
Moray  Frith,  scene  of  a  part  of  Macbeth. 

Forrest,  Miles,  a  murderer,  Rich'ard  IlL,  iv.  3. 

Forslow  (delay),  HI.  Henry  VI.,  ii.  3. 

Forthcoming  (in  custody),  //.  Henry  VI.,  ii.  1. 

For  shame  !  deny  that  thou  bear'st  love,  Sonnet  x. 

Forthright,  a  prisoner.  Measure  for  Measure,  iv.  3. 

Fortinbras,  King  of  Norway,  slain  by  Hamlet,  i.  1,  father  of 
the  prince  of  that  name  in  the  play. 

Fortinbras,  Prince,  nephew  of  the  King  of  Norway,  Hamlet,  i. 
2  ;  character  in  Hamlet,  appears  in  iv.  4  (or  1),  and  v.  2. 

Fortitude,  Timon  of  Athens,  Hi.  5,  "  He's  truly  valiant,"  etc. ; 
Troilus  and  Cressida,  i.  3,  "  In  the  reproof  of  chance,"  etc. ;  An- 
to7iy  a?id  Cleopatra,  iv.  12,  "  Nay,  good  my  fellows,"  etc. 

Fortune,  all  is  but.  The  Tempest,  v.  1 ;  girl  that  flies  her.  Two 
Gentlemen  of  Verona,  v.  2 ;  with  her  wheel.  As  You  Like  It,  i.  2 ; 
III.  Henry  VI.,  iv.  3  ;  King  Lear,  ii.  2,  end  ;  v.  3  ;  Lucrece,  I.  952 ; 
out  of  suits  with.  As  You  Like  It,  i.  2 ;  railed  on,  As  You  Like  It, 
ii.  7,  "  Call  me  not  fool  till,"  etc. ;  play  upon  thy  helm,  All's  Well 
that  Ends  Well,  Hi.  3  ;  displeasure  of.  All's  Well  that  Ends  Well,  v. 
2  ;  a  good  lady.  All's  Well  that  Ends  Well,  v.  2 ;  accident  and  flood  of, 
Twelfth  Night,  iv.  3 ;  fickleness  of.  King  John,  Hi.  1 ;  Macbeth,  i.  2 ; 
Romeo  and  Jidiet,  Hi.  5 ;  Passiojiate  Pilgrim,  xxi. ;  most  threaten- 
ing before  favoring,  King  John,  Hi.  4 ;  never  has  both  hands  full, 
IL  Henry  IV.,  iv.  4 ;  the  blind  goddess,  Henry  V.,  Hi.  6 ;  proves 
men,  Troilus  and  Cressida,  i.  3 ;  men  fallen  out  with,  Troilus  and 
Crebsida,  Hi.  3 ;  blows  of,  to  the  noble,  Coriolanus,  iv.  1 ;  fool  of. 


130  INDEX  TO  SHAKSPERE'S  WORKS. 

Romeo  mid  Juliet,  Hi.  1 ;  King  Lear,  iv.  6 ;  changes  of,  Timon  of 
Athens,  i.  1 ;  every  step  (grise)  of.  Timon  of  Athens,  iv.  3 ;  at  odds 
with,  Timon  of  Athens,  iv. ,?;  in  a  merry  mood,  Julius  Ccesar,  Hi. 
2 ;  &  tide  that  leads  to,  Julius  Ccesar,  iv.  3  ;  we  are  not  the  button 
on  the  cap  of,  Hamlet,  ii.  2 ;  turn  Turk,  Hamlet,  Hi.  2 ;  men  that 
are  not  a  pipe  for,  Hamlet,  Hi.  2 ;  a  good  man's,  King  Lear,  ii.  2  ; 
ne'er  turns  the  key  to  the  poor.  King  Lear,  ii.  4 ;  friends  in  good 
King  Lear,  ii.  4;  the  worst.  King  Lear,  iv.  1 ;  tame  to  blows  of, 
King  Lear,  iv.  6 ;  two  loved  and  hated  by.  King  Lear,  v.  3  ;  mark 
of  harsh,  Antony  and  Cleopatra,  ii.  6 ;  laughed  away,  Antony  and 
Cleopatra,  ii.  6  ;  scorned  most,  Antony  and  Cleopatra,  Hi.  9  or  11  ; 
and  Antony  part,  Antony  and  Cleopatra,  iv.  10  or  12 ;  false  house- 
wife, Antony  and  Cleopatra,  iv.  13  or  15 ;  knave  of,  Aritony  and 
Cleopatra,  v.  2 ;  uncertainty  of,  Cymbeline,  Hi.  3 ;  brings  in  boats 
not  steered,  Cymbeline,  iv.  3 ;  spite  of,  Sonnets  xxxvii.,  xc. ;  respon- 
sibility of.  Sonnet  cxi. 

Fortune-hunter,  not  a.  Twelfth  Night,  ii.  4. 

Fortune,  my  foe,  an  old  song,  alluded  to.  Merry  Wives  of  Wind- 
sor, Hi.  3. 

Fortune-telling,  Merry  Wives  of  Windsor,  iv.  2 ;  Comedy  of 
Errors,  v.  1 ;  Antony  and  Cleopatra,  i.  2 ;  allusions  to  the  use  of  a 
glass  in.  Measure  for  Measure,  H.  2  ;  Macbeth,  iv.  1, 

Forum,  Roman,  scene  of  Coriolanus,  ii.  3. 

Fountain,  a  warm.  Sonnets  cliii.,  cliv. 

Fowling,  allusions  to,  stale  (decoy),  The  Tempest,  iv.  1;  stalk 
on,  Much  Ado  about  Nothing,  ii.  3 ;  limed  a  bush,  II.  Henry  VI., 
i.  3 ;  H.  4  /  dare  with  his  cap  like  larks,  Henry  VIII,  Hi.  2.  Larks 
were  "  dared  by  small  mirrors  on  scarlet  cloth,  which  dazed  them 
while  the  net  was  thrown  over  them."  The  allusion  here  is  to  the 
cardinal's  red  hat. 

Fox,  a  drawn,  /.  Henry  IV.,  Hi.  3,  drawn  from  cover ;  never 
trusted,  /.  Henry  IV.,  v.  2 ;  thou  diest  on  point  of,  Henry  V.,  iv.  4- 
The  last  alludes  to  a  sword  with  the  figure  of  a  fox  on  it,  originally 
used  by  Ferrara  as  a  trade- mark.  Allusions  to  the  cunning  of  the, 
II.  Henry  VI.,  Hi,  1 ;  III.  Henry  VI,  iv.  7 ;  Henry  VIII.,  i.  1 ; 
Timon  of  Athens,  iv.  3  ;  Lear,  Hi.  4;  this  lion  is  a  fox  for  his  A^alour, 
Midsummer  Niyhfs  Dream,  v.  1. 

Fox  and  grapes,  the,  AWs  Well  that  Ends  Well,  ii.  1. 

Frailty,  of  women,  3Ieasure  for  Measure,  ii.  4 ;  Hamlet,  i.  2 ; 
human,  Henry  VIII.,  v.  3 ;  we  are  devils  to  ourselves  when  we 
tempt  the  frailty  of  our  powers,  Troilus  and  Cressida,  iv.  4. 


INDEX  TO  SHAKSPERE'S   WORKS.  131 

Frampold  (uncomfortable),  Merry  Wives  of  Windsor,  li.  2. 

France,  scene  of  parts  of  King  John,  Henry  V.,  I.  and  III. 
Henry  VI.,  Alls  Well  that  Ends  Well.  Allusion  to  the  war  in,  in 
1589,  against  Henry  IV.,  Comedy  of  Errors,  Hi.  2  ;  the  Salique  law 
in,  Henry  Y.,  i.  2.  The  errors  in  the  passage  where  the  bishop  states 
the  case,  are  taken,  with  all  the  other  statements,  from  Holinshed. 
Besides  the  evident  mistake  in  the  number  of  years.  Charlemain  is 
spoken  of  instead  of  Charles  the  Bald  as  father  of  the  Lady  Lingare, 
and  Louis  X.  is  mentioned  in  place  of  Louis  IX.,  St.  Louis.  Eng- 
lish claim  to  the  crown  of,  Henry  V.,  i.  1 ;  ii.  4  >  boasting  in  the 
air  of,  Henry  V.,  Hi.  6 ;  English  losses  in,  I.  Henry  VI.,  i.  1 ; 
wounds  of,  /.  Henry  VI.,  Hi.  3 ;  compact  of,  with  England,  I.  Hen- 
ry VI.,  V.  4 ;  English  wars  and  losses  in,  II.  Henry  VI.,  i.  1 ;  Hi.  1 ; 
better  using  than  trusting,  III.  Henry  VI.,  iv.  1;  following  the 
fashions  of,  Henry  VIIL,  i.  3. 

France,  King  of,  a  fine  and  noble  character  in  AlVs  Well  that 
Ends  Well,  introduced  in  the  second  scene. 

France,  King  of,  character  in  King  Lear,  introduced  in  i.  1,  as 
a  suitor  for  Cordelia,  afterward  her  husband. 

France,  Kings  of.    See  Charles  VIL.  Louis  XI. 

France,  Princess  of,  one  of  the  principal  characters  in  Love's 
Labour's  Lost,  introduced  in  ii.  1.  She  comes  to  ask  Aquitaine  from 
the  young  King  of  Navarre  in  his  "  Academe."  She  and  her  ladies 
are  lively  if  not  altogether  refined,  full  of  drollery  and  mischief. 

Francis,  a  friar  in  Much  Ado  about  Nothing,  introduced  in  iv. 
1,  "a  near  spiritual  kinsman  of  Friar  Laurence  in  Romeo  and 
Juliet." 

Francisca,  a  nun,  character  in  Measure  for  Measure,  appears  in 
i.5. 

Francisco,  a  lord,  character  in  The  Tempest,  introduced  in 
ii.  1. 

Francisco,  a  soldier  in  Hamlet,  introduced  in  i.  1,  as  a  sentinel. 

Frank  (stye),  //.  Henry  IV.,  ii.  2. 

Franked  (penned),  Richard  III,  i.  3  ;  iv.  5. 

Frateretto,  a  fiend.  King  Lear,  Hi.  6.    See  Mahu. 

Frederick,  brother  of  Mariana  in  Measure  for  Pleasure,  who 
had  been  shipwrecked  with  his  sister's  dowry  in  his  charge,  men- 
tioned in  Hi.  1. 

Frederick,  the  usurping  duke  in  As  You  Like  It,  first  appears 
in  i.  2.  He  "  is  called,  even  by  his  daughter,  a  man  of  harsh  and 
envious  mind  ;  he  appears  to  be  perpetually  actuated  by  gloomy  fan- 


132  INDEX  TO  SHAKSPERE'S   WORKS. 

cies,  by  suspicion  and  mistrust,  and  to  be  urged  on  by  covetousness." 
He  repents  in  the  end,  and  becomes  a  hermit. 

Free  (pure),  TweJfth  Night,  ii.  4;  A  Winter's  Tale,  ii.  3. 

Freedom,  with  foppery,  Pleasure  for  Measure,  i.  3 ;  of  spirit, 
Julius  Ccesar,  i.  3  ;  real,  King  Lear,  i.  1. 

Freetown,  Romeo  and  Juliet,  i.  1.  Literal  translation  of  Yilla 
Franca. 

Free  will,  of  men,  AlVs  Well  that  Ends  Well,  i.  1,  "  Our  reme- 
dies oft  in  ourselves,"  etc. ;  Julius  Ccesar,  i.  2,  "  Men  at  some  time 
are  masters,"  etc. ;  Othello,  i.  3,  "  'Tis  in  ourselves,"  etc. 

French,  the,  II.  Henry  IV.,  i.  3.  A  large  French  force  was 
sent  over  during  this  rebellion  to  Milford  Haven  in  aid  of  Glen- 
dower.  Defeat  of,  Henry  V.,  iv.  5  ;  those  killed  at  Agincourt,  iv.  8  ; 
inconstancy  of,  /.  Henry  VI.,  Hi.  3 ;  supposed  fear  of  Henry  V.  of, 
I.  Henry  VI.,  i.  1 ;  fashions  from,  Romeo  and  Juliet,  ii.  4  ;  charac- 
teristics of,  Merchant  of  Venice,  i.  2 ;  lack  language  to  deny  if  girls 
of  Italy  demand,  AlVs  Well  that  End's  Well,  ii.  1. 

French,  language,  scenes  or  parts  of  scenes  in,  Henry  V.,  Hi. 
4;  iv.  4;  V.  2. 

Frenzy,  humours  his,  Comedy  of  Errors,  iv.  4 ;  melancholy  the 
nurse  of.  Taming  of  the  Shrew,  induction,  2. 

Frets,  the  stops  on  lutes,  guitars,  and  viols,  Taming  of  the 
Shreiv,  ii.  1 ;  Hamlet,  Hi.  2. 

Friar,  the  duke  disguised  as  a,  Pleasure  for  Measure,  ii.  3. 

Friars,  not  allowed  to  go  alone,  Romeo  and  Juliet,  v.  2. 

Friend  remembered  not,  song.  As  You  Like  It,  ii.  7. 

Friend(s),  must  needs  be  proportion  in.  Merchant  of  Venice,  Hi. 
4;  keep  thy,  AlVs  Well  that  Ends  Well,  i.  1;  in  misery,  ^s  You 
Like  It,  ii.  1 ;  abused  by  praise  of.  Twelfth  Night,  v.  1 ;  happiness  in 
remembering,  Richard  II.,  ii.  3 ;  backing  of,  /.  Henry  IV,  ii.  4  / 
desertion  of,  Henry  VIII.,  ii.  1;  Troilus  and  Cressida,  Hi.  3,  "  'Tis 
certain  greatness,"  etc. ;  praise  of,  Coriolanus.  v.  2 ;  need  the  oppor- 
tunity of,  Timon  of  Athens,  i.2;  an  over-generous,  Timon  of  Athens, 
ii.  1 ;  reliance  on,  Timon  of  Athens,  ii.  2 ;  false,  Timon  of  Athens, 
i.  1 ;  Hi.  1,  3 ;  iv.  2,  3 ;  "  Not  by  his  breath,"  etc. ;  old  and  new, 
Hamlet,  i.  3  ;  who  needs  not  shall  never  lack  a,  Hamlet,  Hi.  2,  speech 
of  the  player  king ;  in  misfortune,  Antony  and  Cleopatra,  iv.  10  or 
12  ;  be  not  last  to  desert  a.  Sonnet  xc. ;  a  true.  Passionate  Pilgrim, 
xxi. ;  duty  of  a,  Othello,  Hi.  3  ;  Julius  Ccesar,  iv.  3 ;  description  of, 
Hmrilet,  Hi.  2  ;  Merchant  of  Venice,  Hi.  2 ;  As  You  Like  It,  i.  3, 

Friendship,  of  Valentine  and  Proteus,  Two  Gentlemen  of  Ve- 


INDEX  TO  SHAKSPERE'S  WORKS.  133 

rona ;  treachery  to,  Two  Gentlemen  of  Verona,  ii.  6 ;  in.  1 ;  v.  4  ; 
constant  in  all  but,  Much  Ado  about  Nothing,  ii.  1 ;  of  Helena  and 
Ilermia,  Midsummer-Nighfs  Dream,  Hi.  2 ;  of  Rosalind  and  Celia, 
As  You  Like  It,  i.  2,  3  ;  of  the  kings,  A  Winter's  TaJe,  i.  1 ;  of  York 
and  Suffolk,  Henry  V.,  iv.  6  ;  not  knit  by  wisdom,  TroiJus  and  Cres- 
sida,  ii.o  ;  needs  no  ceremony,  Timon  of  Athens,  i.  2 ;  coolness  in, 
Julius  Ccesar,  i.  2 ;  iv.  2 ;  caution  and  constancy  in,  Hamlet,  i,  3 ; 
brittleness  of,  Coriolanus,  v.  4 ;  falsehood  to.  Sonnet  xxxiv. 

Friendship  is  feigning,  song,  As  You  Like  It,  ii.  7. 

Frieze,  made  in  Wales,  Merry  Wives  of  Windsor,  v.  5. 

Fright,  appearance  of,  Hamlet,  Hi.  4,  "  Alas !  how  is't  ?  " 

Frippery  (a  second-hand  shop).  The  Tempest,  iv.  5. 

Frogmore,  Merry  Wives  of  Windsor,  ii.  3.  Frogmore  House 
is  half  a  mile  east  of  Windsor. 

Froissart,  Jean,  /.  Henry  VI.,  i.  2.  Author  of  the  "  Chroni- 
cles," who  lived  from  1837  to  1410. 

Frontiers  (forts  on  the  frontiers),  I.  Henry  IV.,  ii.  3. 

From  east  to  western  Ind,  love-verses,  ^6-  You  Like  It,  Hi.  2. 

Froth,  a  foolish  man  in  Measure  for  Measure,  introduced  in  ii. 
1,  where  he  is  under  arrest,  but  is  discharged  on  account  of  his  evi- 
dent incapacity. 

Froth  and  lime,  let  me  see  thee.  Merry  Wives  of  Windsor,  i. 
3.    Froth  beer  and  lime  sack,  to  make  it  sparkle. 

Frown,  a,  Henry  VIII,  ii.  2;  v.  1 ;  of  majesty,  King  John,  iv.2. 

Frush  (break  to  pieces),  Troilus  and  Gressida,  v.  6. 

Full  fathom  five,  song,  The  Tempest,  i.  2. 

Fullam.     See  Gourd. 

Full  many  a  glorious  morning,  Sonnet,  xxxiii. 

Fulvia,  Antony's  first  wife,  spoken  of  in  Antony  and  Cleopatra, 
I.  1,  2  ;  ii.  2. 

Function  (ability  to  act),  Macheth,  i.  3. 

Funeral(s),  of  Henry  V.,  I.  Henry  VI.,  i.  1 ;  of  Caesar,  Julius 
CcBsar,  Hi.  1,  2;  followed  by  marriage,  Hamlet,  i.  2 ;  of  Ophelia, 
Hamlet,  v.  1;  of  Cleopatra,  Antony  and  Cleopatra,  v.  2;  of  the  sons 
of  Titus,  Titus  Andronicus,  i.  1;  music  for  a,  the  Phoenix  and  the 
Turtle ;  song  for  a,  Cymbeline,  iv.  2. 

Furs,  of  foxes,  and  lamb-skins,  significance  of,  Measure  for 
Measure,  Hi.  2. 

Fury,  Henry  V.,  iv.  4;  III.  Henry  VI,  i.  4;  Troilus  and 
Cressida,  ii.  3;  fire-eyed,  Romeo  and  Juliet,  Hi.  1;  1  understand  a 
fury  in  your  words,  Othello,  iv.  2 ;  a.  noble,  Cymbeline  v.  5. 


134  INDEX  TO  SHAKSPERE'S  WORKS. 

Fury,  the  apparition  of  a  hound,  The  Tempest,  iv.  1. 

Furze,  The  TemjJest,  i.  1. 

Fust  (mould),  Hamlet,  iv.  4  (or  1). 

Future,  the,  if  it  were  known,  //.  Henry  IV.,  in.  1 ;  Julius 
Ccesar,  v.  1 ;  if  you  can  look  into,  Macbeth,  i.  3 ;  dread  of,  Hamlet, 
Hi.  1 ;  Measure  for  Measure,  Hi.  2  ;  we  know  not,  Hamlet,  v.  5.  See 
Prophecies. 

G.,  the  letter,  prophecy  regarding,  Richard  III.,  i.  1. 

Gaberdine,  The  Tempest,  ii.  2 ;  Merchant  of  Venice,  i.  3.  A 
long,  frock-like  coat. 

Gadfly.     See  Breese. 

Gads-Hill,  scene  of  a  part  of  /.  Henry  IV.  On  the  Kentish 
road  near  Rochester. 

Gadshill,  a  character  in  /.  Henry  IV.,  introduced  in  ii.  1.  He 
is  one  of  FalstafE's  company,  and  so  disreputable  that  the  carriers 
are  afraid  to  trust  him  with  their  lanterns.  In  ii.  2  he  takes  part  in 
the  robbery,  and  in  the  lying  in  %i.  4- 

Gage.    See  Challenge. 

Gain,  be  my  lord.  King  John,  end  of  act  ii. ;  seekers  of,  King 
Lear,  ii.  4.. 

Gaingiving  (misgiving),  Hamlet,  v.  2. 

Gait,  a  springing,  Troilus  and  Oressida,iv.  5;  a  majestic.  Love's 
Labom-'s  Lost,  v.  1 ;-  Antony  and  Cleopatra,  Hi,  3 ;  Lear,  v.  8 ;  A 
Wi?iter's  Tale,  iv.  3;  of  a  shuffling  nag,  /.  Henry  IV.,  Hi.  L 

Galathe,  Hector's  horse,  Troilus  and  Cressida,  v.  5. 

Galen,  Merry  Wives  of  Windsor,  ii.  3 ;  Hi.  1;  AlVs  Well  that 
Ends  Well,  ii.  3 ;  II.  Henry  IV.,  i.  2 ;  Coriolanus,  ii.  1. 

Gall,  in  ink.  Twelfth  Night,  Hi.  2. 

Galliard  (a  sprightly  dance).  Twelfth  Night,  i.  3 ;  Henry  V., 
%.  2. 

Galliass,  Taming  of  the  Shrew,  ii.  L  A  large  galley  with 
three  masts  and  seats  for  thirty-two  rowers. 

Gallimaufry  (medley),  Merry  Wives  of  Windsor,  ii.  1;  A  Win- 
ter's Tale,  iv.  4. 

Gallow  (frighten).  King  Lear,  Hi.  2. 

Gallowglasses  (troops  each  "  armed  with  a  scull,  a  shirt  of  mail, 
and  a  galloglas-axe  "),  Macbeth,H.  2  ;  II.  Henry  VI.,  iv.  9. 

Gallows,  born  for  the.  The  Tempest,  i.  1 ;  v.  1 ;  Love's  Labour's 
Lost,  V.  2  ;  1.  Henry  IV.,  i.  2 ;  abolition  of  the,  I.  Henry  IV.,  i.  2 ; 
a  fat  pair,  I.  Henry  IV.,  ii.  1 ;  Hamlet,  v.  1.    See  Hanging. 


INDEX  TO  SBAKSPERE'S  WORKS.  135 

Gallus,  character  in  Antony  and  Cleopatra,  introduced  in  v.  1,  a 
friend  of  Caesar. 

Gam,  Davy,  his  death,  Henry  V.,  iv.  8. 

Gaming,  the  varnish  of  a  complete  man,  Love's  Labour's  Lost, 
i.  2. 

Gam.ut,  Hortensio's,  Taming  of  the  Shrew,  Hi.  1. 

Ganym.ede,  name  assumed  by  Rosalind,  As  You  Like  It,  i,  3. 

Garboils  (tumult),  Antony  and  Cleopatra,  i.  3  ;  ii.  2, 

Garden,  order  in  a,  Richard  IL,  Hi.  If,. 

Gardener,  a,  Richard  IL,  Hi.  Jf. 

Gardening,  //.  Henry  VI,  Hi.  1,  "  Now  'tis  the  spring,"  etc. ; 
Henry  V.,  ii.  4;  Adam's  profession,  Richard  IL,  Hi.  4>'  H'  Henry 
VL,  iv.  2  ;  Hamlet  v.  L 

Gardiner,  Stephen,  Bishop  of  Winchester,  character  in  Henry 
VIIL,  introduced  in  ii.  2 ;  his  unscrupulousness,  ii,  2.  In  v.  1,  he 
expresses  enmity  to  Cromwell  and  Cranmer.  He  favored  the  divorce 
and  the  Anglican  Church  under  Henry,  but  became  a  papist  again 
under  Mary,  in  whose  reign  he  was  chancellor,  and  vv^hose  measures 
against  the  Protestants  he  was  largely  concerned  in. 

Gargantua,  As  You  Like  It,  Hi.  2.  A  giant  in  the  writings  of 
Rabelais,  who  swallowed  five  pilgrims  with  their  staves  in  a  salad. 

Gargrave,  Sir  Thomas,  character  in  /.  Henry  VL,  appears  in  i. 
4,  at  the  siege  of  Orleans,  and  is  killed. 

Garlands,  A  Winter's  Tale,  iv.  3  or  4;  oaken,  Coriolanus,  ii.  1 ; 
wheaten,  Hamlet,  v.  2  ;  willow,  Othello,  iv.  3,  song. 

Garment,  the  everlasting,  Comedy  of  Errors,  iv.  2. 

Garter,  Knights  of  the.  Merry  Wives  of  Windsor,  v.  5. 

Garter,  Order  of  the,  I.  Henry  VL,  iv.  1 ;  Richard  III.,  iv.  4. 

Garter  king  at  arms,  Henry  VIIL,  iv.  1.  order  of  the  corona- 
tion. Thomas  Wriothesley,  grandfather  of  Henry  Wriothesley,  to 
whom  Ve7ius  and  Adonis  and  Lucrece  were  dedicated. 

Garter  Inn,  the,  scene  of  a  part  of  the  Ilerry  Wives  of  Windsor. 
The  Host,  one  of  the  characters,  first  appears  in  i.  3, 

Gascoigne,  Sir  William,  Lord  Chief  Justice,  character  in  II. 
Henry  IV.,  first  appears  in  i.  2.  One  of  the  legends  about  the  wild 
Prince  Hal  is  that  he  gave  the  chief  justice  a  cuff  on  the  ear,  and 
was  sent  to  prison  for  it  by  the  justice.  In  v.  2,  Sir  William  defends 
his  action,  and  is  unexpectedly  praised  for  it  and  retained  in  office 
by  the  young  king. 

Gascony,  in  southwestern  France,  scene  of  /.  Henry  VL,  iv. 
•S,4. 


136  INDEX  TO  SHAKSPERE'S   WORKS. 

Gate,  the  strait,  AWs  Well  that  Ends  Well,  iv.  5. 

Gaudy  night,  one  other,  Antony  and  Cleopatra,  Hi.  13.  Gaudy 
days — that  is,  days  of  joy — is  a  term  for  feast-days. 

Gaunt,  John  of,  Duke  of  Lancaster,  character  in  Richard  II., 
enters  in  the  first  scene.  He  was  born  in  1339  in  Ghent,  whence  his 
name.  At  the  opening  of  the  play  he  was  fifty-eight,  though  ad- 
dressed as  a  very  old  man.  He  is  a  fine  and  stately  character.  His 
patriotism  is  shown  in  his  reproaches  to  Richard  for  his  sins  against 
his  country,  and  his  eulogy  on  England  in  ii.  1,  just  before  his 
death  (1399).  His  line.  III.  Henry  VI.,  i.  1 ;  his  wisdom,  IIL  Henry 
VI.,  Hi.  J^. 

Gawsey  (Gausel  or  Goushill),  Sir  Nicholas,  I.  Henry  IV.,  v.  4. 

Gear  (business),  Merchant  of  Venice,  i.  1 ;  II.  Henry  VI.,  i.  4 ; 
Troilus  and  Cressida,  i.  1. 

Geek  (fool,  fop).  Twelfth  Night,  v.  1 ;  Cymbeline,  v.  4. 

Gelidus  timor,  etc.,  //.  Henry  VI.,  iv.  1.  Cold  fear  seizes  my 
limbs. 

Gender  (sort),  Hamlet,  iv.  7  (or  4). 

General  (the  common  people).  Measure  for  Measure,  ii.  4  /  cavi- 
are to  the.     See  Caviare. 

General  (the  public  weal),  Julius  Ccesar,  ii.  1. 

General,  fame  of  a,  Coriolanus.  i.  1,  end. 

Generation  (children).  King  Lear,  i.  1. 

Generation,  to  yonder  (or  the  under),  Measure  for  Measure,  iv. 
3.  The  under  would  mean  the  antipodes ;  yonder  may  mean  those 
outside  the  prison. 

Genius,  the  (the  soul),  Jidius  Cmsar,  ii.  1 ;  Twelfth  Night,  Hi. 
4;  (the  tutelar  angel),  Troilus  and  Oressida,  iv.  4- 

Gentility,  law  against — the  influence  of  women,  Love's  Labours 
Lost,  i.  1. 

Gentleman,  characteristics  of  a.  Two  Gentlemen  of  Verona,  ii. 
4;  a  fine,  Love's  Labour's  Lost,  v.  2 ;  signs  of  a.  Twelfth  Night,  i. 
5 ;  born  a,  3Ierry  Wives  of  Windsor,  i.  1 ;  A  Winters  Tale,  v.  2 ;  a 
brave,  I.  Henry  IV.,  v.  1 ;  a,  framed  in  the  prodigality  of  nature, 
Richard  III.,  i.  2 ;  bears  him  like  a,  Romeo  and  Juliet,  i.  5 ;  the 
most  ancient,  Hamlet,  v.  1. 

Gentlemen,  who  neither  envy  the  great  nor  despise  the  low, 
Pericles,  ii.  3. 

Gentleness,  a  strong  enforcement.  As  You  Like  It,  ii.  7  ;  neces- 
sary for  success,  Coriolanus,  Hi.  1. 

Gentry  (courtesy),  Hamlet,  ii.  2. 


INDEX  TO  SHAKSPERE'S  WORKS.  13Y 

Gentry,  degrees  of,  Mtiry  Wivts  of  Wmdsor,  ii.  1,  "  Not  alter 
the  article,'  etc. ;  inheritance  of,  A  Winter's  Tale,  i.  2. 

Geoffrey  Plantagenet,  the  father  of  Prince  Arthur,  mentioned 
in  King  John. 

Geography,  Merchant  of  Venice,  i.  1,  "  Peering  in  maps  for 
ports  and  piers  and  roads." 

Geologic  changes,  II.  Henry  IV.,  Hi.  1,  "  0  God,  that  oiie 
might  read,"  etc. 

George,  look  on  my,  II.  Henry  VI.,  iv.  1 ;  Richard  III,  iv.  4. 
The  Knights  of  the  Garter  wore  a  figure  of  St.  George  on  horseback. 

George,  St.,  battle-cry  of  English  soldiers,  Henry  V.,  Hi.  1 ;  I. 
Henry  VI.,  iv.  2 ;  Richard  III,  v.  3 ;  feast  of,  April  23d,  I.Henry 
VI.,  i.  1 ;  and  the  dragon,  King  John,  ii.  1.  Allusion  to  the  picture 
used  as  an  innkeeper's  sign. 

Germans,  the,  Merry  Wives  of  Windsor,  iv.  3,  5.  It  has  been 
found  by  Mr.  Knight  that  the  Duke  of  Wiirtemberg  travelled  in 
England  with  a  retinue  in  1592,  and  went  to  Windsor,  under  the 
name  of  Count  Morabeliard  (Mumplegart),  his  title  at  the  time,  and 
no  doubt  this  is  a  reminiscence  of  that  event.  Garmomble,  almost 
an  anagram  of  Mumplegart,  appears  in  the  copy  of  1602.  An  order 
was  found  from  the  lord  chamberlain  that  the  count  should  have 
post-horses  free.  Apparently  the  host  intends  to  take  it  out  of  the 
rest  of  the  company.  Germans  are  honest  men.  Merry  Wives  of 
Windsor,  iv.  5 ;  all  slops  (loose  breeches)  from  the  waist  downward 
like,  3Iuch  Ado  about  Nothing,  Hi.  2  ;  are  hasty,  ///.  Henry  VI.,  iv.  8. 

Germany,  the  heresies  in  Upper,  Henry  VIII.,  v.  3.  Alluding 
to  the  "  following  of  Thomas  Muncer  in  Thuringia  in  1521." 

Gertrude,  Queen  of  Denmark  and  mother  of  Hamlet,  first  ap- 
pears in  i.  2.  In  the  history  her  name  is  Geruth  or  Gerutha.  It  is 
left  doubtfid  whether  she  knew  of  the  poisoning  of  Hamlet's  father, 
but  her  affe*ction  for  Hamlet  and  for  Ophelia  make  it  probable  that 
she  was  weak  rather  than  cruel.  She  dies,  v.  2,  of  the  poison  in- 
tended for  Hamlet. 

Gest,  A  Winter's  Tale,  i.  2.  An  appointed  stage  in  a  royal 
progress ;  sometimes  used  for  an  appointed  limit  of  time. 

Get  you  hence,  song,  A  Winter's  Tale,  iv.  3  or  4. 

Ghost  (corpse),  II.  Henry  VI.,  Hi.  2. 

Ghost  (soul),  vex  not  his.  King  Lear,  v.  3. 

Ghost(s),  returning,  Midsummer-Nighfs  Dream,  Hi.  2 ;  appear 
to  Richard  and  Richmond,  Richard  III.,  v.  3 ;  of  Caesar,  Julius 
Cc&sar,  iv.  3;  v.  5;  of  Banquo,  Macbeth,  Hi.  3,  4;   of  Hamlet's 


138  INDEX  TO  SHAKSPERE'S  WORKS. 

father,  Hamlet,  i.  1,  2,  4,  5;  ii.  2,  end;  Hi.  4;  make  the,  gaze,  Art 
tony  and  Cleopatra,  iv.  12  or  1^ ;  disbelief  in,  A  Winter's  Tale,  Hi.  3. 

Giant,  a.  Twelfth  Night,  i.  5,  meaning  a  guardian  giant ;  strength 
of,  Measure  for  Measure,  ii.  2 ;  pangs  of,  in  death,  Measure  for 
Measure,  Hi.  1 ;  robe  of  a,  Macbeth,  v.  2. 

Gib-cat  (an  old  cat),  I.  Henry  IV.,  i.  2. 

Gifts,  slight.  As  You  Like  It,  i.  2,  "  Wear  this  for  me,"  etc. ;  that 
are  locked  in  the  heart,  A  Winter's  Tale,  iv.  3 ;  win  with.  Two  Gen- 
tlemen of  Verona,  Hi.  1 ;  of  love,  Midsummer-Night's  Dream,  i.  1 ; 
returned,  Hamlet,  Hi.  1 ;  gain  praise.  Love's  Labour's  Lost,  iv.  1 ; 
seven  hundred  pounds  and  possibilities  is  good,  Merry  Wives  of 
Windsor,  i.  1 ;  of  rich  men,  Timon  of  Athens,  v.  1, 

Gig  (a  kind  of  top).  Love's  Labour's  Lost,  iv.  3  ;  v.  1. 

Giglot  (giddy,  inconstant),  /.  Henry  VI.,  iv.7 ;  Cymbeline,  Hi.  1, 

Gilded,  by  liquor.  The  Tempest,  v.  1,  2. 

Gillyvors  (gillyflowers),  A  Winter's  Tale,  iv.  3  or  4. 

Giminals,  or  gimmers,  machinery  or  jointing  of  an  automaton, 
I.  Henry  VI.,  i.  2.  A  gimmal-ring  was  a  jointed  one,  two  or  three 
fastened  together,  used  by  lovers.  "  Grimmal-bit "  is  used  in  Henry 
v.,  iv.  2. 

Ginger,  shall  be  hot  i'  the  mouth.  Twelfth  Night,  ii.  3, 

Gipsy,  Cleopatra  called  a,  Anto7iy  and  Cleopatra,  i.  1;  iv.  10 
or  12. 

Gird  (raO  at),  Coriolanus,  i.  i ;  a  kindly,  I.  Henry  VI.,  Hi.  J. 
The  right  kind  of  reproof. 

Girdle,  turn  his  (challenge  by  turning  the  buckle  to  the  back), 
Much  Ado  about  Nothing,  v.  1. 

Girdle,  round  the  earth.  Midsummer-Night's  Dream,,  H.  1, 

Gis,  Hamlet,  iv.  5  (or  2).     Meaning  unknown. 

Giving  vein,  the,  Richard  III.,  iv.  2. 

Glamis,  Macbeth  made  thane  of,  by  the  death  of 'his  father, 
Sinel,  Finel,  or  Finlay,  Macbeth,  i.  3. 

Glansdale,  Sir  William,  character  in  I.  Henry  VI.,  appears  in  i, 
4,  and  is  killed  in  the  same  scene. 

Glass,  a  prophet  looks  in  a,  Pleasure  for  Measure,  ii.  2.  Allu- 
sion to  fortune-tellers  that  prophesied  from  looking  into  a  beryl  or 
crystal  glass. — Hudson. 

Gleek(s),  jests  or  gibes,  Midsummer-Night's  Dream,  Hi.  1 ;  I. 
Henry  VI.,  Hi.  2 ;  Romeo  and  Juliet,  iv.  5. 

Glendower,  Owen,  a  Welsh  nobleman,  character  in  I.  Henry  IV., 
introduced  in  Hi.  1,     His  victory  over  Mortimer  is  reported  in  i.  1, 


INDEX  TO  SHAKSPERE'S   WORKS.  139 

He  joins  in  rebellion  with  the  Percys.  He  believes  himself  to  be 
possessed  of  supernatural  power,  and  talks  pompously  {Hi.  1)  of  the 
portents  at  his  birth,  and,  Hotspur  says,  kept  him  at  least  nine  hours 
"  in  reckoning  up  the  several  devils'  names  that  were  his  lackeys." 
His  death,  //.  Henry  /F.,  Hi.  1.  As  a  matter  of  fact,  he  did  not  die 
till  1415,  after  Henry's  death.  Allusions  to,  Richard  II..  Hi.  1 ;  II. 
Henry  VI.,  ii.  2.  It  was  Lord  Grey,  of  Ruthven,  who  was  held 
captive  as  described  in  the  last  passage. 

Globe,  this,  shall  dissolve,  The  Tempest,  iv.  1. 

Globe  Theatre,  called  "  this  wooden  0,"  in  the  chorus  to  act  i., 
Henry  V. 

Glory,  guilty  of  crimes,  Love's  Labour's  Lost,  iv.  1 ;  the  greater 
dims  the  less.  Merchant  of  Venice,  v.  1 ;  departure  of,  Richard  II., 
ii.  4 ;  like  a  circle  in  water,  /.  Henry  VI.,  i.  2 ;  view  of  earthly 
(Field  of  the  Cloth  of  Gold),  Henry  VIII,  i.  1 ;  of  the  world,  Henry 
VIII.,  Hi.  2 ;  of  this  life,  madness,  Timon  of  Athens,  i.  2.  See  also 
Fame. 

Gloucester,  Thomas  of  Woodstock,  Duke  of,  uncle  of  Richard 
II.  He  was  arrested  for  treason  in  1397,  condemned,  and  given  into 
the  charge  of  Norfolk,  who,  it  was  said,  by  order  of  the  king,  secretly 
made  away  with  him.  In  Richard  IL,  i.  1,  Bolingbroke  charges 
Norfolk  with  his  death.  In  iv.  1,  Aumerle  is  accused  of  being  the 
instrument  of  it. 

Gloucester,  Richard,  Duke  of.  See  Plant agenet,  Richard, 
and  Richard  III.  In  ///.  Heriry  VI.,  Hi.  2,  he  is  first  called 
Gloucester. 

Gloucester,  Duke  of,  character  in  King  Lear,  introduced  in  the 
first  scene.  He  is  coarse  in  conversation  and  hot  and  fiery  in  his 
condemnation  of  Edgar ;  but  the  better  points  of  his  character  come 
out  afterward  in  his  manifestation  of  loyalty,  Hi.  3,  7,  and  his  bear- 
ing in  the  sufferings  it  brings  upon  him,  Hi.  7. 

Gloucester,  dukedom  of,  ominous.  III.  Henry  VI.,  ii.  6.  It  was 
thought  to  be  unlucky  on  account  of  the  deaths  of  three  of  the  dukes. 

Gloucester,  Eleanor  de  Bohun,  Duchess  of,  a  character  in  Rich- 
ard IL,  enters  in  i.  2.  Her  death,  H.  2,  supposed  in  the  play  to  be 
at  the  duke's  castle  of  Plashy  or  Pleshy,  really  occurred  at  Barking 
Abbey,  one  of  the  most  ancient  abbeys  of  England,  founded  by  St. 
Erkenwald,  about  675  a.  d.  It  was  seven  miles  east  of  London,  on 
the  Roding.  Nothing  now  remains  of  its  once  fine  buildings  but  a 
gateway  vvith  a  tower,  called  the  "  Fire-Bell  Tower,"  from  a  tradi- 
tion that  curfew  and  fire-alarms  were  rung  from  it. 


140  INDEX  TO  SHAKSPERE'S  WORKS. 

Gloucester,  Eleanor  Cobham,  Duchess  of.     See  Eleanor. 

Gloucester,  Humphrey,  Duke  of.     See  Humphrey. 

Gloucestershire,  scene  of  a  part  of  Richard  II.  and  a  part  of 
II.  Henry  IV.     Shallow's  residence  was  there. 

Gloves,  lovers  on,  Two  Oentlemen  of  Verona,  ii.  1 ;  Romeo  and 
Juliet,  ii.  2 ;  used  as  gages,  Richard  II.,  i.  1;  iv.  1 ;  Henry  V.,  iv. 
1 ;  Troilus  and  Cressida,  iv.  4;  v.  2 ;  Timon  of  Athens,  v.  4;  King 
Lear,  v.  2  ;  perfumed,  Much  Ado  about  Nothing,  Hi.  4.. 

Glow-worm,  the,  Hamlet,  i.  5 ;  Midsummer-Nigh fs  Bream, 
Hi.  1. 

Glutton,  the  (Dives),  77.  Henry  IV,  i.  2. 

Gluttony,  bankrupts  the  wits,  Love's  Labour's  Lost,  i.  1. 

Gobbo,  an  old  man,  father  of  Launcelot  Gobbo,  in  the  Merchant 
of  Venice,  introduced  in  ii.  2, 

Gobbo,  Launcelot.    See  Launcelot. 

Go-between,  denunciation  of  a,  Two  Gentlemen  of  Verona,  i.  2 ; 
a  zealous.  Merry  Wives  of  Windsor,  i.  1 ;  ii.  2  ;  Troil.  and  Cress.,  Hi.  2. 

God,  his  mercy.  Measure  for  Measure,  ii.  2 ;  Merchant  of  Ven- 
ice, iv.  1 ;  II.  Henry  VL,  iv.  8  ;  and  the  rope-maker.  Comedy  of  Er- 
rors, iv.  3 ;  the  tuition  of.  Much  Ado  about  Nothing,  i.  1;  they  hope 
they  serve.  Much  Ado  about  Nothing,  iv.  2 ;  feeds  the  raven  and  the 
sparrow,  As  You  Like  It,  ii.  3 ;  chooses  weak  ministers,  AlVs  Well 
that  Ends  Well,  ii.  1;  the  widow's  champion,  Richard  II.,  i.  2; 
guards  his  anointed,  Richard  II.,  Hi.  2,  3 ;  is  mustering  armies  of 
pestilence,  Richard  II.,  Hi.  3 ;  King  of  kings,  Henry  V.,  i.  1 ;  we 
are  in  his  hand,  Henry  V.,  Hi.  6 ;  cannot  be  escaped,  Henry  V.,  iv. 
1 ;  Hamlet,  Hi.  3,  "  There  is  no  shuffling,"  etc. ;  gives  light  in  dark- 
ness, 77.  Henry  VI.,  H.  i;  a  stay  and  guide,  77.  Henry  VL,  ii.  3 ; 
works  in  all  his  creatures,  77  Henry  VL,  H.  1 ;  the  judge,  77  Henry 
VL,  Hi.  2 ;  Henry  VLIL,  Hi.  1 ;  King  Lear,  iv.  2 ;  the  all-seeing, 
Richard  III.,  v.  1 ;  the  omniscient,  AlVs  Well  that  Ends  Well,  ii. 
1;  Henry  VIII. ,  Hi.  1 ;  is  just,  Richard  III.,  i.  2 ;  Macbeth,  iv.  3 ; 
rewards  service,  Henry  VIII.,  Hi.  2  ;  his  spies.  King  Lear,  v.  3. 

God(s),  the,  a  thousand  knees  could  not  move,  A  Winter's  Tale, 
Hi.  2 ;  in  shapes  of  beasts,  A  Winter's  Tale,  iv.  3  or  4;  the  service 
greater  than,  Troilus  and  Cressida,  ii.  2;  Caesar  as  a,  Julius  Cmsa/r, 
i.  2 ;  threatenings  of  the,  Julius  Ccesar,  i.  3;  wants  nothing  of  a, 
but  eternity  and  a  heaven,  Coriolanus,  v.  4;  prayer  to,  Timon  of 
Athens,  i.  2 ;  let  them  find  their  enemies,  King  Lear,  Hi.  2 ;  sport 
of.  King  Lear,  iv.  1 ;  opposeless  walls  of,  King  Lear,  iv.  6  ;  are  just. 
King  Lear,  v.  3  ;  justice  and  delays  of,  Antony  and  Cleopatra,  ii.  1; 


INDEX  TO  SHAKSPERE'S  WORKS.  141 

seei  our  eyes,  Antony  and  Cleopatra,  in.  11  or  13 ;  detest  baseness, 
Antony  and  Cleopatra,  iv.  12  or  llf.;  injurious,  Antony  and  Cleo- 
patra, iv.,  end ;  partiality  of,  Cymheline,  v.  1 ;  cross  whom  they  love 
— their  clemency,  Cymheline,  v.  4,'  incense  to,  Cymheline,  v.  5,  end; 
recall  their  gifts,  Pericles,  Hi.  1. 

God  save  her  (a  charm),  Henry  VIII.,  v.  4. 

God  ye  good  even  (God  give  yeu),  As  You  Like  It,  v.  1.  See 
Good  Den. 

Goffe,  ]Matthew,  character  in  II.  Henry  VI.,  first  appears  in  iv. 
7,  mentioned  in  iv.  5.  He  was  a  foster-brother  of  Talbot,  Earl  of 
Shrewsbury,  and  led  the  Londoners  against  Jack  Cade  in  1450. 

Going,  stay  not  upon  the  order  of,  JIacbefh,  Hi.  4. 

Gold,  Comedy  of  Errors,  ii.  1 ;  all  that  glisters  is  not.  Merchant 
of  Venice,  ii.  7 ;  hard  food  for  Midas,  3Ierc7iant  of  Venice,  Hi.  2; 
fairy  gold.  A  Wiiitefs  Tale,  Hi.  3 ;  authority  led  by,  A  Winter'' s 
Tale,  iv.  3  or  4;  to  gild  refined.  King  John,  iv.  2 ;  greed  for,  II. 
Henry  IV.,  iv.  4,'  allusion  to  the  notion  that  potable  gold  was  a 
powerful  medicine,  //.  Henry  IV.,  iv.  4;  corrupting,  Richard  III., 
iv.  2 ;  o'erdusted,  Troilus  and  Cressida,  Hi.  3 ;  worse  poison,  Borneo 
and  Juliet,  v.  1 ;  allusion  to  the  punishment  in  hell  of  the  avaricious 
by  molten  gold  poured  down  the  throat,  Timon  of  Athens,  Hi.  1; 
power  of,  Timon  of  Athens,  iv.  3 ;  what  a  god  it  is! — brings  back 
friends,  Timon  of  Athens,  v.  1 ;  sin  plated  with.  King  Lear,  iv.  6 ; 
power  of,  Cymheline,  ii.  3;  worthlessness  of,  Cymheline,  Hi.  6; 
saint-seducing,  Romeo  and  Juliet,  i.  1. 

Golden  age,  or  world,  The  Tempest,  ii.  1 ;  As  You  Like  It,  i.  1. 

Goldsmiths'  wives,  sentiments  from.  As  You  Like  It,  Hi.  2. 

Golgotha,  Richard  II,  iv.  1 ;  memorize  (make  memorable),  an- 
other, 3Iacheth,  i.  2. 

Goliases,  /.  Henry  VI.,  i.  2.    Goliaths. 

Goliath,  with  a  weaver's  beam.  Merry  Wives  of  Windsor,  v.  1. 

Goneril,  one  of  the  daughters  of  King  Lear,  introduced  in  the 
first  scene.  Her  professions  of  love,  i.  1;  treatment  of  her  father, 
i.  3,  4 ;  intrigue  with  Edmund,  iv.  2,  5 ;  v.  1 ;  plots  against  her  hus- 
band's life,  iv.  6  ;  poisons  Regan  and  dies,  v.  3. 

"The  monsters  Goneril  and  Regan  are  gorgons  rather  than 
women,  such  as  Shakspere  has  nowhere  else  conceived.  The  aspect 
of  Goneril  can  almost  turn  to  stone ;  in  Regan's  tongue  there  is  a 
viperous  hiss.  Goneril  is  the  more  formidable,  because  the  more  in- 
caple  of  any  hatred  which  is  not  solid  and  four-square.  Regan  acts 
under  her  sister's  influence,  but  has  an  eager  venomousness  of  her 
own." — DowDEX. 
10 


142  INDEX  TO  SHAKSPERE'S   WORKS. 

Gonzago.     See  Murder  of  Gonzago. 

Gonzalo,  a  loyal  and  faithful  subject  of  Prospero  in  The  Tent' 
pest,  introduced  in  i.  5. 

Good,  render,  for  evil,  The  Tempest,  v.  1,  "  The  rarer  action," 
etc.;  As  You  Like  It,  iv.  3;  AIVs  Well  that  Ends  Well,  ii.  5; 
Richard  III,  i.  3 ;  Timon  of  Athens,  Hi.  3  ;  to  do,  sometimes  folly, 
Macbeth,  iv.  2 ;  apparent,  Cyfiibeline,  Hi.  ^ ;  light  of  deeds  of,  Mer- 
chant of  Venice,  v.  1. 

Good  den  (evening).  King  John,  i.  1,  and  elsewhere. 

Goodfellow,  Robin.    See  Puck. 

Good  Friday,  allusions  to  fasting  on,  Kiiig  John,  i.  1 ;  1.  Henry 
IV.,  i.  2. 

Goodness,  a  fever  in,  Measure  for  3Ieasure,  Hi.  2 ;  may  good- 
ness and  he  fill  up  one  monument,  Henry  VIIL,  ii.  i  ;  a  kind  of,  in 
speaking  well,  Henry  VIIL,  Hi.  2 ;  brighter  after  ill  behaviour,  I. 
Henry  IV.,  i.  2,  end;  a  soul  of,  in  things  evil,  Henry  V.,  iv.  1 ;  made 
a  net  for  destruction,  Othello,  ii.  3,  "  And  what's  he,"  etc. 

Good-night,  Passionate  Pilgrim,  xiv. ;  a  hurried,  Macbeth,  Hi. 
4;  lovers',  Romeo  and  Juliet,  H.  2 ;   Venus  and  Adonis,  I.  529. 

Good  things,  made  too  common,  //.  Henry  IV.,  i.  2. 

Goodwins,  3Ier chant  of  Venice,  Hi.  1;  King  John,  v.  3,  5. 
Sands  off  the  coast  of  Kent,  where  the  castle  of  Earl  Goodwin  was 
said  to  have  been  engulfed. 

Good  year  (supposed  corruption  of  gougeres,  a  disease),  Much 
Ado  about  Nothing,  i.  3  ;  King  Lear,  v.  3. 

Goose,  the  tailor's,  Macbeth,  ii.  3. 

Goose-quills,  many  wearing  rapiers  afraid  of,  Hamlet,  ii.  2. 
Those  who  wrote  plays  for  children  to  act. 

Gorboduc,  King  of  Britain  (perhaps),  Twelfth  Night,  iv.  2. 

Gordian  knot,  the,  Cymbeline,  ii.  2 ;  Henry  V.,  i.  1.  Gordius 
was  a  peasant,  who  was  made  King  of  Phrygia  because  the  oracle 
had  said  that  the  future  king  should  come  in  a  wagon,  and  Gordius 
came  driving  into  the  public  square  in  one  just  after  the  oracle  had 
been  received.  He  dedicated  his  wagon  to  Jupiter,  and  tied  it  up  so 
that  the  ends  of  the  knot  could  not  be  seen.  It  was  believed  that  he 
who  should  untie  the  knot  should  be  king  of  all  Asia.  No  one  suc- 
ceeded in  untying  it,  but  Alexander  the  Great  cut  it  with  his  sword. 

Gorgon,  a  new,  Macbeth,  ii.  3 ;  one  way  like  a,  Antony  and 
Cleopatra,  H.  5. 

Gormandizing,  Love's  Labour'' s  Lost,  i.  1 ;  Merchant  of  Ven- 
ice, ii  5 ;  II.  Henry  IV.,  v.  5. 


INDEX   TO  SHAKSPERE'S   WORKS.  143 

Gosford  Green,  near  Coventry,  scene  of  part  of  Richard  II. 

Gossamer,  symbol  of  lightness,  Romeo  and  Jidiet,  li.  6 ;  King 
Lear.  ii\  G. 

Gossips  (sponsors),  AWs  Well  that  Ends  Well,  i.  1 ;  Midsum- 
mer-Nighfs  Dream,  ii.  1;  Henry  VlII.,v.  5 ;  Romeo  and  Juliet^ 
Hi.  5. 

Goths,  wars  of  Rome  against  the,  Titus  Andronicus,  i.  1. 

Gough.     See  Goffe. 

Gourd  and  fullam  (false  dice),  Merry  Wives  of  Windsor,  i.  3. 
Fullam  is  conjectured  to  be  from  Fulham,  either  because  they  were 
made  there,  or  because  gamblers  made  that  place  a  resort.  They 
were  loaded  on  one  side,  while  the  gourds  were  hollowed  out,  mak- 
ing a  secret  cavity. 

Govemnient(s),  deputed,  Measure  for  Measure,  i.  1 ;  order  in, 
like  that  of  bees,  Henry  V.,  i.  2  ;  that  makes  women  seem  divine.  III. 
Henry  VI.,  i.  4 ;  resigned,  III.  Henry  VI.,  iv.  6. 

Gower,  an  officer  in  the  army,  character  in  //.  Henry  IV.,  intro- 
duced in  ii.  1,  and  in  Henry  V.,  introduced  in  Hi.  2. 

Gower,  John,  the  poet,  author  of  "Confessio  Amantis,"  from 
which  the  story  of  Pericles,  Prince  of  Tyre,  was  taken,  and  therefore 
introduced  as  the  chorus  in  that  play.     He  died  in  1408. 

Grace,  forgot,  makes  all  go  wrong.  Measure  for  Measure,  iv.  Jf. ; 
special,  Love's  Labour's  Lost,  i.  1;  of  men,  more  sought  than  God's, 
Richard  III,  Hi.  4;  opposed  to  rude  will,  Romeo  and  Juliet,  ii.  3  ; 
must  look  so,  Macbeth,  iv.  3. 

Grace  before  meat,  Measure  for  Measure,  i.  2  ;  Merry  Wives,  i.  1 ; 
not  enough  for  a  prologue  to  egg  and  butter,  i.  Henry  IV.,  i.  2 ;  used 
as  the,  Coriolanus,  iv.  7  ;  by  cynics,  Timon  of  Athens,  i,  2  ;  Hi.  6. 

Graceful  (gracious),  Antony  and  Cleopatra,  ii.  2. 

Gracefulness,  A  Winter's  Tale,  iv.  3  or  4. 

Graces,  some  men's,  are  their  enemies.  As  You  Like  If,  ii.  3 ; 
a  dumb  discursive  devil  in,  Titus  Andronicus,  iv.  4  ;  in  herbs,  Romeo 
and  Juliet,  ii.  3 ;  her  subjects,  Pericles,  i.  1. 

Grained  (wrinkled),  Comedy  of  Errors,  v.  1. 

Grammar,  sin  of  understanding,  //.  Henry   VI.,  iv.  7. 

Grandam,  give,  kingdom.  King  John,  H.  1. 

Grandchildren,  Richard  III,  iv.  4. 

Grandpre,  a  French  lord  in  Henry  V.,  first  appears  in  iv.  2 ; 
his  death,  iv.  8. 

Grange  (a  large  country  house),  Mariana  in  the  moated.  Meas- 
ure for  Measure,  Hi.  1 ;  iv.  1, 


144  INDEX  TO  SHAKSPERE\S    WORKS, 

Grass,  grows  fastest  by  night,  Henry  V.,  i.  1. 

Gratiano,  a  character  in  the  Merchant  of  Venice,  introduced  in 
the  first  scene,  a  merry,  talkative  fellow,  who,  Bassanio  says,  "  speaks 
an  infinite  deal  of  nothing,  more  than  any  man  in  all  Venice  "  (^.  2). 

Gratiano,  an  unimportant  character  in  Othello,  introduced  in  v.  2. 

Gratitude,  Macbeth,  i.  3,  "  Your  pains  are  registered " ;  King 
Lear,  iv.  7  ;  for  the  poorest  service,  Tami7ig  of  the  Shrew,  iv.  3 ;  of 
an  old  servant.  As  You  Like  It,  ii.  3  ;  to  heaven,  //.  Henry  VI.,  ii.  1. 
See  Thanks. 

Gratuity,  indirect  begging  for  a.  Two  Gentlemen  of  Verona, 
i.l. 

Grave-diggers,  characters  in  Hamlet,  v.  1. 

Gravel-heart  (stony  heart).  Measure  for  Measure,  iv.  3. 

Grave(s),  opened  by  magic — every  third  thought  a.  The  Tempest, 
V.  1 ;  with  sorrow  to  the.  Two  Gentlemen  of  Verona,  Hi.  1 ;  opened, 
Midsummer- Nighfs  Dream,  Hi.  2;  v.  2 ;  Hamlet,  Hi.  2;  an  old 
man  asks  a,  Henry  VIIL,  iv.  2 ;  Julius  CcBsar,  ii.  2 ;  Hamlet,  i.  1; 
Hi.  2  ;  wrestling  in  a,  Hamlet,  v.  1 ;  silence  of  the,  Titus  Andronicus, 
i.  1 ;  by  the  sea,  a,  Timon  of  Athens,  iv.  3 ;  v.  1,  3,  4 ;  lovers  at  a, 
Romeo  and  Juliet,  v.  3  ;  position  of,  east  and  west,  Cymbeline,  iv.  2. 

Gravity,  revolted  to  wantonness,  Love's  Labour's  Lost,  v.  2  ;  af- 
fectation of,  Jlerchant  of  Venice,  i.  1. 

Graymalkin,  the  quasi-personal  name  for  the  cat,  Macbeth,  i.  1. 

Great,  the,  mercy  in — privileges  of — wit  in,  to  jest  with  saints, 
Measure  for  Measure,  ii.  2 ;  have  many  blasts  to  shake  them,  Rich- 
ard III,  i.  3 ;  favour  of,  Richard  III.,  Hi.  4;  criticism  of,  Henry 
VIIL,  i.  2 ;  griefs  of,  Henry  VIII,  ii.  3 ;  one  of,  like  a  colossus, 
Julius  CoRsar^  i.  2  ;  have  countenance  to  suicide,  Hamlet,  v.  1 ;  serv- 
ants of.  King  Lear.  Hi.  1 ;  ebb  and  flow  of,  King  Lear,  v.  3 ;  pay 
for  demerit  of  others,  Antony  and  Cleopatra,  v.  2. 

Greatness,  rumours  concerning.  Measure  for  Measure,  iv.  1; 
some  achieve,  Tivelfth  Night,  ii.  5 ;  Hi.  4  >  ^''  1  /  needs  pruning, 
Richard  II.,  Hi.  4;  ingratitude  of,  I.  Henry  IV.,  iv.  3 ;  v.  1 ;  out 
of  love  with,  II.  Henry  IV.,  ii.  2 ;  unsought,  //.  Henry  IV.,  Hi.  1; 
highest  point  of.  Henry  VIIL,  ii.  2 ;  farewell  to,  Henry  VIIL,  Hi. 
2 ;  fall  of,  Richard  HI,  iv.  4 ;  fallen  out  with  fortune,  Troilus  and 
Cressida,  Hi.  3 ;  dangers  of,  Julius  Ccesar,  ii.  1 ;  not  independent, 
Hamlet,  i.  3 ;  the  fall  of,  Hamlet,  Hi.  3 ;  the  right,  Hamlet,  iv.  4  ; 
departing,  Antony  and  Cleopatra,  iv.  11  or  13 ;  magnifies  faults  and 
merits,  Lucrece,  I.  IOO4. 

Greek  (good  fellow),  Tivelfth  Night,  iv.  1. 


INDEX  TO  SHAKSPERE'S   WORKS.  145 

Greeks,  the,  war  of,  with  the  Trojans,  Troilus  and  Cressida ; 
their  ships,  prologue  ;  strength  and  skill,  i.  1 ;  discord  among,  i.  3. 

Green,  Sir  Henry,  a  character  in  Richard  II.,  first  introduced  in 
i.  3 ;  his  death,  in.  2. 

Green,  the  colour  of  lovers,  Lova's  Labour's  Lost,  i.  2. 
Greene,  Robert.    The  name  of  the  play,  "  The  thrice  three  Muses 
mourning  for  the  Death  of  Learning,  late  deceased  in  Beggary,"' 
offered  to  Theseus  in  Midsummer-Nicjhfs  Dream,  v.  1,  is  by  some 
supposed  to  refer  to  his  death.     See  Sources. 

Green  Sleeves,  tune  of.  Merry  ^Yives  of  Windsor,  ii.  1;  v.  5. 
The  words  of  this  old  song  are  lost,  but  they  are  judged,  from  con- 
temporary allusions,  to  have  been  indecent. 

Greenwood  Tree,  Under  the,  song.  As  You  Like  It,  ii.  5. 
Greeting.     See  Salutation. 

Gregory,  one  of  Capulet's  servants,  character  in  Romeo  and  Ju- 
liet, appears  in  i.  1. 

Gregory,  St.,  Two  Gentlemen  of  Verona,  iv.  2.  Three  popes  of 
the  name  were  canonized. 

Gregory,  Turk,  /.  Henry  IV.,  v.  3.    Pope  Gregory  VII. 
Gremio,  an  ill-natured  old  man,  suitor  of  Bianca  in  the  Taming 
of  the  Shrew,  introduced  in  i.  1. 

Grey,  Elizabeth  Woodville,  Lady,  afterward  queen  of  Edward 
IV.    See  Elizabeth. 

Grey,  Sir  Richard  (correctly  John),  spoken  of  in  III.  Henry  VI., 
Hi.  2,  as  having  lost  his  life  in  the  cause  of  the  house  of  York,  and 
in  Richard  III,  i.  3,  as  a  partisan  of  Lancaster.  The  latter  is  cor- 
rect. He  fell  at  the  first  battle  of  St.  Albans  in  1455.  His  widow 
married  Edward  IV. 

Grey,  Richard,  Lord,  son  of  Lady  Elizabeth  Grey,  character  in 
Richard  III,  first  appears  in  i.  3;  sent  to  execution.  Hi.  3,  4;  his 
ghost,  V.  3.  The  Greys  were  hated  as  upstarts  by  the  family  of  York, 
and  the  favour  shown  them  by  Edw^ard  IV.  intensified  the  feeling. 

Grey,  Sir  Thomas,  character  in  Henry  V.  He  conspires  with 
Cambridge  and  Scroop  to  murder  the  king,  and  is  exposed  and  or- 
dered to  execution  in  ii.  2.  The  conspiracy  is  mentioned  in  the 
prologue  to  the  act. 

Grey,  Thomas.    See  Dorset. 

Greyhounds,  race  by,  Merry  Wives  of  Windsor,  i.  1. 
Grief(s),  beauty's  canker.  The  Tempest,  i.  2 ;  unspeakable,  Com- 
edy of  Errors,  i.  1 ;  every  one  can  master  a,  but  he  that  has  it,  Much 
Ado  about  Nothing,  Hi.  2;  one  in,  easily  led,  Much  Ado  about  Noth- 


146  INDEX  TO  SHAKSPERE'S  WORKS. 

ing,  ii\  1 ;  comfort  in — patch  with  proverbs,  Much  Ado  about  Noth- 
ing, V.  1 ;  that  burns  worse  than  tears  drown,  A  Winter's  Tale,  ii.  1 ; 
what's  past  help,  should  be  past,  A  Winter's  Tale,  Hi.  2 ;  I.  Henry 
IV.,  Hi.  3 ;  III.  Henry  VI.,  v.  4;  Macbeth,  Hi.  £;  Othello,  i.  3 ;  a. 
throne,  King  John,  Hi.  1 ;  fills  the  room  of  the  absent,  King  John,  Hi. 
4;  houndeth,  Richard  II.,  i.  2 ;  counterfeit,  Richard  II.,  i.  4. ;  shad- 
ows of,  Richard  II,  ii.  2 ;  king  of  my,  Richard  II,  iv.  1 ;  eased  by- 
speech,  Richard  III,  iv.  4;  Macbeth,  iv.  3 ;  a.  glistering,  Henry 
VlII,  ii.  3 ;  overflowing,  Titus  Andronicus,  Hi.  1 ;  one,  cured  by 
another,  Romeo  and  Juliet,  i.  2 ;  much  of,  shows  some  want  of  wit, 
Romeo  and  Juliet,  Hi.  5  ;  sin  of  excessive,  Hamlet,  i.  2  ;  Hi.  2 ;  expres- 
sion of,  Hamlet,  v.  1 ;  fellowship  in,  King  Lear,  Hi.  6  ;  full  of,  as  age. 
King  Lear,  ii.  4 ;  to  deal  alone  with,  King  Lear,  iv.  3 ;  folly  of,  for 
cureless  ills,  Othello,  i.  3 ;  great,  medicine  the  less,  Cymbeline,  iv. 
2 ;  our  own  forgotten  in  others',  Pericles,  i.  4  /  bath  two  tongues, 
Venus  and  Adonis,  I.  1007 ;  testy,  Lucrece,  I.  1094 ,'  best  society  for, 
Lucrece,  I.  1111 ;  dallied  with,  Lucrece,  I.  1120 ;  at  grievances  fore- 
gone. Sonnet  xxx.  ;  the  greatest  first,  Sonnet  xc  ;  blows  a  man  up,  I. 
Henry  IV.,  ii.  4;  weighed  with  wrongs,  //.  Henry  IV.,  iv.  1;  soft- 
ens the  mind,  //.  Henry  IV.,  iv.4;  moderation  in,  Troilus  and 
Cressida,  iv.  4;  speechless,  Macbeth,  iv.  3.    See  Sorrow  and  Tears. 

GriflB-th,  Richard,  Queen  Katherine's  gentleman  usher  in  Henry 
VIII. ,  introduced  in  ii.  4  ;  his  eulogy  on  Wolsey,  iv.  2. 

Grise  (step,  degree),  Othello,  i.  3,  and  elsewhere. 

Grissel,  Taming  of  the  Shrew,  ii.  1.  The  patient  Griselda, 
whose  story  is  told  by  Boccaccio  and  by  Chaucer. 

Groans,  Richard  II,  i.2 ;  v.  1 ;  Lear,  Hi.  2 ;  of  a  deer,  As  You 
Like  It,  ii.  1. 

Groat,  a  half -faced,  King  John,  i.  1.  A  coin  first  issued  in  the 
reign  of  Henrj'  YII.,  having  a  profile  on  it. 

Groom,  of  Richard  II,  a  faithful  servant  who  comes  to  the  de- 
posed king  in  prison,  and  expresses  his  grief  because  Richard's  horse 
had  carried  Henry  on  his  coronation-day. 

Groundlings,  split  the  ears  of,  Hamlet,  Hi.  2. 

Grudge,  to  feed  an  ancient,  Merchant  of  Venice,  i.  3. 

Grumio,  an  oddly  witty  servant  of  Petruchio  in  the  Taming  of 
the  Shrew,  introduced  in  i.  2. 

Gualtree  Forest,  II.  Henry  IV.,  iv.  1. 

Guarded  (trimmed).  Merchant  of  Venice,  ii.  2,  and  elsewhere. 

Guards,  priestly,  princely,  or  precise,  Measure  for  Measure,  Hi. 
1,     The  original  reads  preiizie,  variously  supposed  to  be  a  mistake 


INDEX  TO  SHAKSPERE'S  WORKS.  147 

for  the  three  words  above.  Guards  were  facings  or  trimmings,  and 
the  passage  refers  to  the  decorousness  of  the  deputy's  dress.  Precise 
was  used  in  the  sense  of  puritanical. 

Guiana,  a  region  in,  Merry  Wives  of  Windsor,  i.  3. 

Guiderius  and  Arviragus,  sons  of  Cymbeline,  introduced  in 
Hi.  3.  They  pass  under  the  names  of  Polydore  and  Cadwal  as  sons 
of  Belarius,  who  stole  them  in  their  infancy  in  revenge  for  his  ban- 
ishment. Their  longing  for  war,  iv.  4  ;  bravery,  v.  3 ;  they  are  dis- 
covered and  knighted,  v.  5. 

Guildenstem,  a  courtier  in  Eamlet,  introduced  in  ii.  2.    See 

ROSENCRANTZ. 

Guildford,  Sir  Henry,  character  in  Henry  VIIL,  introduced  in 
t.  4,  son  of  one  of  the  Guildfords  mentioned  in  Richard  III. 

Guildfords,  the,  Richard  III.,  iv.  4.  Sir  John  and  his  son  Sir 
Richard. 

Guildhall,  Richard  III,  Hi.  5. 

Guilt,  consciousness  of.  King  John,  iv.  2 ;  jealousy  of,  Hamlet, 
iv.  5  (or  2) ;  revelations  of,  in  the  tempest,  King  Lear,  Hi.  2 ;  who 
is  quite  free  from,  Othello,  Hi.  3 ;  to  be  read  in  the  face,  Othello,  v. 
1 ;  makes  cowardly,  Cymbeline,  v.  2.     See  Conscience,  Remorse. 

Guines,  in  Picardy,  Henry  VIIL,  i.  L 

Guinevere,  Love's  Labours  Lost,  iv.  1.  The  wife  of  King  Ar- 
thur. 

Gulls  (fools).  Twelfth  Night,  v.  1 ;  Henry  V.,  Hi.  6 ;  Timon  of 
Alliens,  H.  1 ;  Othello,  v.  2 ;  also  used  for  a  trick,  as  in  Much  Ado 
about  Nothing,  ii.  3 ;  I.  Henry  I V.,  v.  1,  "  That  ungentle  gull." 
Gull  is  a  provincial  name  for  a  nestling. 

Gun-stones.     See  Cannon-balls. 

Gurnet,  a  soused,  /.  Henry  IV.,  iv.  2.  Used  as  a  term  of  con- 
tempt.    A  gurnet  is  a  sea-fish  used  for  food. 

Gurney,  James,  servant  of  Lady  Faulconbridge  in  King  John, 
appears  in  the  first  scene. 

Guy,  Sir,  Henry  VIIL,  v.  3.  Sir  Guy  of  Warwick,  a  crusader  of 
the  tenth  centuiy,  of  whose  prowess  fabulous  stories  were  told. 

Haberdasher,  a,  a  character  in  The  Taming  of  the  Shreiv,  iv.  3. 

Habit,  Two  Gentlemen  of  Verona,  v.  4 ;  Hamlet,  Hi.  4 ;  Othello, 
i.3. 

Hack.     See  Knighthood. 

Hacket,  Marian  and  Cicely,  an  alewife  and  her  maid,  men- 
tioned, Taming  of  the  Shrew,  induction,  2. 


148  INDEX  TO  SHAKSPERE'S  WORKS. 

Haggards  (wild  hawks),  Much  Ado  ahout  Nothing ,  Hi.  1 ;  Tam- 
ing of  the  Shreu;  iv.  1 ;  Tivelfth  Night,  Hi.  1 ;  Othello^  Hi.  3. 

Hair,  the,  raised  with  fright,  The  Tempest,  i.  2 ;  II.  Henry  VI., 
Hi.  2 ;  Richard  HI.,  i.  3 ;  Macbeth,  i.  3;  v.  5;  Hamlet,  Hi.  4;  of 
professions,  Merry  Wives  of  Windsor,  ii.  3 ;  why  time  takes,  more, 
than  wit,  Comedy  of  Errors,  ii.  2 ;  Two  Gentlemen  of  Verona,  Hi. 
2 ;  golden.  Merchant  of  Venice,  i.  1 ;  false.  Merchant  of  Venice,  Hi. 
2 ;  Henry  V.,  Hi.  7 ;  Timon  of  Athens,  iv.  3,  "  Thatch  your  poor, 
thin  roofs,"  etc. ;  Sonnet  Ixviii. ;  flaxen.  Twelfth  Night,  i.  3 ;  con- 
ceit of  friendship  in.  King  John,  Hi.  4. ;  used  for  character,  com- 
plexion, I.  Henry  IV.,  iv.  1 ;  of  Judas,  As  You  Like  It,  Hi.  If.;  allu- 
sion to  the  belief  that  a  hair  turns  to  a  snake  in  water,  Antony  and 
Cleopatra,  i.  2 ;  dishevelled.  Lover's  Complaint,  I.  29. 

Hal,  Prince.    See  Henry  V. 

Halcyon  beaks,  King  Lear,  ii.  2.  Allusion  to  the  belief  that 
the  turns  of  the  halcyon's  beak  indicate  changes  in  the  weather. 

Hialcyon  days,  I.  Henry  VI.,  i.  2.  These  were  fourteen  days 
in  winter,  when,  as  was  supposed,  the  halcyon  builds  its  nest,  and 
the  sea  is  calm.     Hence  it  is  used  for  days  of  peace. 

Half  Can,  a  prisoner.  Measure  for  Measure,  iv.  3. 

Half  Moon,  a  room  in  an  inn,  /.  Henry  IV.,  ii.  4- 

Halidom  (holy  dame  or  holy  dom  ?),  Henry  VIII.,  v.  1. 

Hallowmas  (All-Saints'  Hay),  Richard  II.,  v.  1 ;  a  beggar  at, 
Two  Gentlemen  of  Verona  ii.  1,  2. 

Hamlet  is  introduced  in  i.  2  of  the  play  of  the  name.  Amlettus, 
Amleth,  and  Hamblet  are  older  forms  of  the  name.  In  i.  4  he  sees 
the  ghost  of  his  father,  and  in  i.  5  learns  the  manner  of  his  death 
and  vows  revenge ;  his  soliloquy.  Hi.  1 ;  he  learns  by  his  artifice  with 
the  players,  n I.  i*,  that  there  is  no  mistake  about  the  king's  guilt ; 
feigns  madness,  kills  Polonius  by  mistake  for  the  king.  Hi.  4 ;  is  sent 
to  England,  iv.  3 ;  returns,  iv.  6 ;  at  Ophelia's  grave,  v.  1 ;  fights 
with  Laertes  and  dies,  v.  2. 

"  I  believe  the  character  of  Hamlet  may  be  traced  to  Shakspere^s 
deep  and  accurate  science  in  mental  philosophy.  Indeed,  that  this 
character  must  have  some  connection  with  the  common  fundamental 
laws  of  our  nature  may  be  assumed  from  the  fact  that  Hamlet  has 
been  the  darling  of  every  country  in  which  the  literature  of  England 
has  been  fostered.  ...  In  Hamlet  he  seems  to  have  wished  to  exem- 
plify the  moral  necessity  of  a  due  balance  between  our  attention  to 
the  objects  of  our  senses,  and  our  meditation  on  the  workings  of  our 
minds,  an  equilibrium  between  the  real  and  the  imaginary  worlds. 
In  Hamlet  this  balance  is  disturbed  ;  his  thoughts  and  the  images  of 
his  fancy  are  far  more  vivid  than  his  actual  impressions,  and  his  very 


INDEX  TO  SHAKSPERE'S  WORKS.  149 

perceptions,  instantly  passing  through  the  medium  of  his  contem- 
plations, acquire  as  they  pass  a  form  and  a  colour  not  naturally  their 
own.  Hence  we  see  a  great,  an  almost  enormous  intellectual  activity, 
and  a  proportionate  aversion  to  real  action  consequent  upon  it,  with 
all  its  symptoms  and  accompanying  qualities.  This  character  Shak- 
spere  places  in  circumstances  where  it  is  obliged  to  act  on  the  spur 
of  the  moment ;  Hamlet  is  brave  and  careless  of  death  ;  but  he  vacil- 
lates from  sensibility  and  procrastinates  from  thought,  and  loses  the 
power  of  action  in  the  energy  of  resolve.  .  .  .  Shakspere  seems  to 
mean  all  Hamlet's  character  to  be  brought  together  before  his  final 
disappearance  from  the  scene ;  his  meditative  excess  in  the  grave- 
digging,  his  yielding  to  passion  with  Laertes,  his  love  for  Ophelia 
blazing  out,  his  tendency  to  generalize  on  all  occasions  in  the  dia- 
logue with  Horatio,  his  fine  gentlemanly  manners  with  Osric,  and  his 
and  Shakspere's  own  fondness  for  presentiment :  '  But  thou  wouldst 
not  think  how  ill  all's  here  about  my  heart :  but  it  is  no  matter.' " — 
Coleridge. 

Hamlet,  Prince  of  Denmark,  a  tragedy  first  published  in  1603 
in  a  meagre  form,  either  Shakspere's  first  draft  of  the  play,  or  an 
unauthorized  version  made  up  from  parts  supplied  to  actors,  proba- 
bly the  former.  In  its  enlarged  form  it  appeared  in  1604,  and  in 
two  or  three  later  editions  before  the  folio  of  1623  was  published. 
The  first  appearance  of  the  story  of  Hamlet,  so  far  as  is  kno\vn,  was 
in  the  "  Historia  Danica  "  of  Saxo  Grammaticus,  a  Danish  historian, 
who  wrote  it  about  1204.  A  version  of  the  story  in  Italian  by  Ban- 
dello  was  translated  into  French  by  Belleforest,  from  which  it  was 
rendered  into  English,  though  no  earlier  edition  of  the  English  trans- 
lation is  known  than  one  of  1608.  Besides  these  there  was  an  older 
play  in  English  on  the  subject,  which  has  not  come  down  to  us.  In 
the  "  Hystorie  of  Hamblet "  the  time  is  placed  before  the  introduc- 
tion of  Christianity  into  Denmark,  and  in  fact  before  Christ.  Shak- 
spere leaves  the  time  indefinite,  though  the  characters  are  Christians. 
The  period  of  action  seems  to  be  but  a  few  months.  None  of  the 
plays  has  excited  more  interest  or  more  study  and  criticism.  There 
is  an  opinion  that  the  main  characters  were  intended  for  portraits 
more  or  less  exact  of  personages  of  Shakspere's  own  time,  Hamlet 
himself  being  referred  to  Sir  Philip  Sidney. 

Hames  Castle,  ///.  Henry  VL,  v.  5. 

Hampton,  Henry  V.,  ii.  2. 

Hand,  in  any  (at  any  rate),  AlVs  Well  that  Ends  Well,  Hi.  6. 

Hand-fast  (troth-plight),  Cymheline,  i.  5. 

Hand.(s),  Cressida's,  Troilus  and  Cressida,  i.  1 ;  indications  in, 
Comedy  of  Errors,  Hi.  2  ;  Merchant  of  Venice,  ii.  2  ;  Othello,  Hi.  4; 
Antony  and  Cleopatra,  i.  2 ;  beauty  of,  Venus  and  Adonis,  I.  361; 


150  INDEX  TO  SHAKSPERE'S   WORKS. 

Lucrece,  l.  393 ;  blood  on,  JIacbeth,  ii.2  ;  v.  1;  Richard  11.,  ii.  1; 
proper  fellow  of  my  (tall  and  Avell  made),  11.  Henry  IV.,  ii.  2  ;  Win- 
ter's Tale,  V.  2. 

Handkerchief,  Desdemona's,  Othello,  Hi.  3,  4. 

Handwriting,  a  fair,  held  base,  Hamlet,  v.  2. 

Hanged,  born  to  be,  The  Tempest,  i.  1 ;  v.  1 ;  Two  Gentlemen 
of  Verona,  i.  1 ;  never  undone  till,  Two  Gentlemen  of  Verona,  ii.  5. 

Hanger-on,  a,  Much  Ado  about  Nothing,  i.  1. 

Hanging,  comfort  in,  Cymbeline,  v.  4  ;  many  a  good,  prevents  a 
bad  marriage,  Twelfth  Night,  i.  5. 

Hannibal,  Measure  for  Pleasure,  ii.  1;  I.  Henry  VI.,  i.  5. 

Happiness,  seen  through  another's  eyes,  As  You  Like  It,  v.  2 ; 
achieved  in  not  being  over-happy,  Hamlet,  ii.  2 ;  by  virtue,  Taming 
of  the  Shrew,  i.  1;  brevity  of,  Lucrece,  I.  22 ;  of  kings,  Henry  V., 
iv.  1 ;  absolute,  Othello,  ii.  L 

Happy  man  be  his  dole,  proverbial  expression,  Taming  of  the 
Shrew,  i.  1,  and  elsewhere. 

Harcourt,  character  in  //.  Henry  IV.,  first  appears  in  iv.  4. 
He  is  on  the  side  of  the  king,  and  brings  news  of  Northumberland's 
defeat.    Perhaps  Sir  Thomas  Harcourt.  who  was  Sheriff  of  Berkshire. 

Hardships,  cheerful  acceptance  of,  Henry  V.,  iv.  1. 

Hare,  the  melancholy,  /.  Henry  IV.,  i.  2 ;  the  hunted,  Venus 
and  Adonis,  I.  679,  et  seq. 

Harebell,  the,  Cymbeline,  iv.  2. 

Hare-lip,  Ilidsummer-Nighfs  Dream,  v.  2 ;  Lear,  Hi.  4-  Sup- 
posed to  be  caused  by  malignant  fairies. 

Harfletir,  in  France,  six  miles  from  Havre,  scene  of  a  part  of 
Henry  V. ;  its  surrender.  Hi.  3. 

Harfieur,  Governor  of,  a  character  in  Hejiry  V.,  first  appears  in 
Hi.  3,  where  he  surrenders  the  town  to  the  English  (1415). 

Ha'rford  West  (Haverford  West),  Richard  III.,  iv.  5. 

Hark,  hark,  the  lark,  song,  Cymbeline,  ii.  3. 

Harm,  to  do,  is  often  laudable,  Macbeth,  iv.  2. 

Haimony,  in  parts  working  to  one  end,  Henry  V.,  i.  2 ;  of  the 
spheres.  Merchant  of  Venice,  v.  1. 

Harpy,  like  the,  Pericles,  iv.  3  (or  4). 

Haste,  too  great,  Coriolanus,  Hi.  1,  "  unscanned  swiftness." 

Hastings,  Lord,  character  in  //.  Henry  IV.,  first  appears  in  i. 
3.  He  is  one  of  the  party  opposed  to  the  king.  He  was  not  Lord 
but  Sir  Ralph  Hastings. 

Hastings,  William,  Lord,  character  in  111.  Henry  VI.,  intro- 


INDEX  TO  SHAKSPERE'S   WORKS.  151 

duced  in  iv.  1 ;  and  again  in  Richard  III.,  introduced  in  i.  1.  He 
was  a  favourite  of  Edward  IV.,  and  supposed  himself  to  be  in  favour 
with  Richard,  who,  however,  ordered  him  to  execution.  Hi.  4,  proba- 
bly because  he  saw  that  Hastings  would  not  go  with  him  in  his  in- 
tended crimes  against  his  nephews.  The  accusations  made  against 
him  are  in  Hi.  5,  6  ;  his  ghost  appears  to  Richard,  v.  3.  The  charac- 
ter of  Hastings  in  the  play  is  frank,  open,  and  unsuspicious ;  on  his 
way  to  execution  he  recalls  the  curses  invoked  on  him  by  Queen 
Margaret  for  looking  on  at  the  murder  of  her  son,  i.  3.  It  was  not 
he,  but  his  son,  Edward  Hastings,  who  married  the  daughter  of  Sir 
Thomas  Hungerford  {iv.  1).  Lord  William  Hastings  rebuilt  the 
castle  of  Ashby  de  la  Zouch,  mentioned  in  "  Ivanhoe." 

Hat,  a  fantastic,  Taming  of  the  Shrew,  Hi.  2, 

Hatched,  in  silver,  Troilus  and  Cressida,  i.  3.  Inlaid  with  fine 
lines  of  silver. 

Hatred,  Shylock's,  for  Antonio,  Merchant  of  Venice,  i.  3 ;  Hi. 
S ;  of  a,  tyrant,  Richard  III.,  i.  1 ;  iv.  4 ;  of  Aufidius,  Coriolaiius, 
i,  10  ;  Hi.  1 ;  of  the  plebeians,  Goriolanui,  u.  1 ;  of  the  race,  Mac- 
beth, iv.  3,  "Had  I  power,"  etc.;  nought  in,  Othello,  v.  2;  not  for 
you,  Sonnet  cxlv ;  Margaret's,  for  York,  III.  Henry  VI.,  i.  4. 

Haud  credo  (I  do  not  believe).  Love's  Labour's  Lost,  iv.  2. 

Have  I  caught  my  heavenly  jewel  ?  Merry  Wives  of  Wind- 
sor, Hi.  3.     Quotation  from  Sidney's  "  Arcadia." 

Havoc,  cry,  King  John,  ii.  1 ;  Coriolanus,  Hi.  1 ;  Julius  Ccesar, 
Hi.  1 ;  a,  signal  for  slaughter. 

Hawking,  allusions  to :  prune  herself  and  bristle  up  the  crest, 
/.  Henry  IV.,  i.  1;  you  must  be  watched,  Troilus  and  Cressida,  Hi. 
2;  hawks  were  tamed  by  being  kept  from  sleeping.  See  also  Fal- 
conry. 

Hawthorn-buds  (ladies'  men).  Merry  Wives  of  Windsor,  Hi.  3. 

Hay  (a  boisterous  dance),  Love's  Labour's  Lost,  v.  1. 

Hazard,  edge  of,  All's  Well  that  Ends  Well,  Hi.  3. 

Head,  the  gate  of  the  mind,  King  Lear,  v.  4. 

Head,  of  the  first  (in  its  fifth  year),  Love's  Labour's  Lost,  iv.  2. 

Heart,  a  merry,  goes  all  the  way,  song,  A  Winter's  Tale,  iv.  2. 

Heart-break,  Antony  and  Cleopatra,  iv.  12  or  14. 

Heart(s),  how  won,  /.  Henry  IV.,  Hi.  2 ;  a,  good,  Henry  V.,  v. 
2;  flinty,  Richard  III,  i.  3 ;  a  thousand,  Richard  III.,  v.  3;  seat 
of  the  brains  (an  old  belief),  Coriolanus,  i.  1 ;  for  the  event,  Corio- 
lanus, ii.  1 ;  ruddy  drops  that  visit  my  sad,  Julius  Ccesar,  ii.  1  ; 
throw  away  the  worser  part,  Hamlet,  Hi.  4 ;  now  cracks  a  noble. 


152  INDEX  TO  SHAKSPERE'S  WORKS. 

Hamlet,  V.  2 ;  cause  in  nature  for  hard,  King  Lear,  in.  6 ;  burst 
smilingly,  King  Lear,  v.  3  ;  wear  my,  upon  my  sleeve,  Othello,  i.  1 ; 
pursed  up  his,  Antony  and  Cleopatra,  ii.  2 ;  empty  of  all  but  grief, 
Cymbeline,  Hi.  4;  a  quiet  cabinet — seat  of  sensation,  Lucrece,  I.  4-4^ ,' 
a  light,  lives  long.  Love's  Labour's  Lost,  v.  2 ;  courage  of  an  inno- 
cent, //.  Henry  VL,  Hi.  1,  2. 

Heaven,  served  worse  than  self,  Pleasure  for  Measure,  ii.  2 ; 
splits  the  oak  rather  than  the  mjTtle,  Measure  for  Measure,  ii.  2  ; 
in  the  mouth,  evil  in  the  heart,  Pleasure  for  Measure,  ii.  4  /  an  am- 
bassador to.  Measure  for  Measure,  Hi.  1 ;  the  sword  of.  Measure  for 
Measure,  Hi.  2 ;  appeal  to  the  justice  of,  Measure  for  Measure,  v. 
1 ;  help  of,  AlVs  Well  that  Ends  Well,  i.  1,  last  paragraph ;  ii.  1 ; 
recognition  va.  King  John,  Hi.  4;  comfort  in,  Richard  II.,  ii.  2 ; 
aids  given  by,  Richard  II.,  Hi.  2,  3  ;  help  of.  III.  Henry  VI.,  iv.  1; 
Pericles,  i.  4;  o'er  our  heads,  Richard  II.,  Hi.  3 ;  above  all  yet, 
Henry  VIII.,  Hi.  1 ;  deaf  to  sorrow,  Titus  Andronicus,  iv.  1 ;  tempt- 
ing, Julius  Ccesar,  i.  3  ;  no  bribery  before,  Hamlet,  iii.3 ;  appeal  to, 
King  Lear,  ii.  4  ;  judgment  of,  King  Lear,  v.  3  ;  fire  from,  Pericles, 
ii.  4' 

Hebenon  (henbane  ?),  Hamlet,  i.  5. 

Hecate,  in  Macbeth,  appears  in  Hi.  5 ;  iv.  1 ;  that  railing,  1. 
Henry  VI. ,  Hi.  2 ;  ban  of,  Hamlet,  Hi.  2 ;  King  Lear,  i.  1. 

Hector,  son  of  Priam,  the  great  Trojan  hero,  and  one  of  the 
most  exalted  characters  in  classic  literature,  is  introduced  in  Troilus 
and  Cressida,  i.  2,  where  he  is  described,  and  said  to  have  been  struck 
down  by  Ajax.  His  challenge  to  the  Greeks,  i.  3  ;  fight  with  Ajax, 
iv.  5  ;  bravery  in  the  field,  v,  5  ;  his  death,  v.  9  ;  dragged  by  Achilles, 
V.  10 ;  mentioned.  Merry  Wives  of  Windsor,  i.  3 ;  H.  3 ;  Love's  La- 
bour's Lost,  V.  2 ;  II.  Henry  IV.,  ii.  4>  Coriolanus,  i.  3,  8 ;  I. 
Henry  VL,  ii.  3;  III.  Henry  VI.,  iv.  8 ;  Antony  and  Cleopatra,  iv. 
8  ;  in  a  painting,  Lucrece,  lines  1430,  i486. 

Hecuba,  Queen,  Troilus  and  Cressida,  i.  2 ;  Coriolanus,  i,  3; 
Titus  Andronicus,  iv.  1 ;  Cymbeline,  iv.  2  ;  witnessing  Priam's  death 
—an  actor's  grief  for,  Hamlet,  ii.  2 ;  in  a  painting,  Lucrece,  lines 
1447,  1450,  14S5. 

Hedge  (as  a  verb),  Merry  Wives  of  Windsor,  ii.  2,  and  elsewhere. 

Hedgehogs,  or  urchins,  Midsummer-Night's  Dreain,  ii.  2; 
Ricliard  III,  i.  2 ;  Macbeth,  iv.  1 ;  Tempest,  ii.  2. 

Hedge-priest,  Love's  Labour's  Lost,  v.  2,  "  The  pedant,  the  brag- 
gart," etc. 

Hefts  (heavings),  A  Winter's  Tale,  H.  1. 


INDEX  TO  SHAKSPERE'S    WORKS.  153 

Heigh-ho  I  (refrain  of  a  song),  As  You  Like  It,  ii.  7. 

Heirloom,  an,  AlVs  Well  that  Ends  Well,  iv.  2 ;  v.  2. 

Helen,  wife  of  Menelaus,  King  of  Sparta.  She  chose .  him  from 
among  many  suitors,  all  of  whom  took  an  oath,  before  her  decision 
was  made,  to  defend  and  avenge  her  if  necessary,  whatever  her 
choice  might  be.  Paris  persuaded  her  to  elope  with  him  to  Troy, 
and  from  this  arose  the  Trojan  war.  She  is  talked  of  in  Troilus 
and  Cressida,  i.  2 ;  the  question  of  giving  her  up  discussed  in  li. 
2  ;  she  is  introduced  in  Hi.  1 ;  at  the  end  of  iv.  1,  Diomedes  bitterly 
estimates  her  cost  to  Greece  and  Troy;  mentioned,  As  You  Like 
It,  Hi.  2,  soiig ;  AlVs  Well  that  Ends  Well,  i.  3,  song ;  III.  Henry 
VI.,  ii.  2;  Lucrece,  I.  1368;  Sonnet  liii;  Midsummer  -  Nighf  s 
Dream,  v.  1. 

Helen,  Imogen's  attendant  in  Cymheline,  introduced  in  ii.  2. 

Helena,  character  in  Midsummer-Nighfs  Dream,  introduced  in 
i.  1.  She  is  in  love  with  Demetrius,  who  loves  Hermia,  who  again  is 
in  love  with  Lysander.  Lysander  returns  Hermia's  love,  except  for 
a  short  time,  when  he  is  under  the  enchantment  produced  by  the 
fairies,  when  he  loves  Helena.  In  her  self-distrust  she  thinks  it  is  a 
jest  put  upon  her  by  Hermia  and  her  lover.  In  character  she  is 
gentler  than  Hermia,  but  not  altogether  generous,  as  she  runs  off  to 
tell  of  Hermia's  elopement.  The  smaller  girl,  in  her  jealousy,  calls 
Helena  a  "  painted  Maypole." 

Helena,  heroine  of  AlVs  Well  that  Ends  Well,  introduced  in 
the  first  scene.  Taking  the  repulsive  role  of  the  heroine  of  the  origi- 
nal tale,  Shakspere  has  portrayed  a  character  of  great  sweetness  and 
strength.  Helena  is  at  the  same  time  clever  and  self-sacrificing, 
meek  and  high-spirited,  willing  to  renounce  if  necessary,  and  yet 
quick  to  see  the  way  to  win,  and  firm  and  clear-headed  in  availing 
herself  of  it.  Many  of  the  most  beautiful  passages  of  the  play  are 
put  into  her  mouth  and  express  her  "  pious  trust  and  persevering, 
steadfast  nature,  which  from  her  youth  up,  on  account  of  her  lowly 
position,  has  rendered  her  self-dependent,"  the  depth  and  at  the 
same  time  the  straightforward  simplicity  of  her  character. 

Helenus,  son  of  Priam,  character  in  Troilus  and  Cressida,  in- 
troduced in  i.  2  ;  satirized  by  Troilus,  ii.  2. 

Helicanus,  a  lord  of  Tyre,  in  Pericles,  introduced  in  i.  2.  He  is 
an  adviser  of  the  prince ;  refuses  the  crown,  ii.  4.  "  A  figure  of 
truth,  of  faith,  of  loyalty." 

Helicons,  II.  Henry  IV.,  v.  3.  Helicon  was  the  mountain  of 
the  Muses. 


154  INDEX  TO  SHAKSPERE'S   WORKS. 

Hell,  set  on  fire,  Merry  Wives  of  Windsor,  v.  5 ;  cunning  livery 
of,  Measure  for  Measure,  Hi.  1 ;  gate  of,  Mucli  Ado  about  Nothing, 
ii.  1;  what  hole  in,  hot  enough,  1.  Henry  lY.,  i.  2;  a  fate  to  re- 
mind of,  I.  Henry  1 V.,  Hi.  3 ;  dream  of,  Richard  III.,  i.  4  ;  the 
porter  imagines  himself  keeper  of  the  gate  of,  Macbeth,  ii.  3. 

Hell  (cant  for  prison).  Comedy  of  Errors,  iv.  2. 

Hellespont,  the.  Two  Gentlemen  of  Verona,  i.  1.  The  strait 
between  the  Mediterranean  and  the  Sea  of  Marmora. 

Hemlock,  Macbeth,  iv.  1 ;  perhaps  the  "  insane  root "  men- 
tioned in  Macbeth,  i.  3. 

Henry,  Kings,  IV.,  V.,  VI.,  and  VIII.,  dramas  of.  See  King 
Henry  IV.,  etc. 

Henry,  Prince,  son  of  King  John,  appears  in  the  last  scene  of 
King  John,  speaking  as  a  man.  In  truth,  he  was  but  nine  years  old 
when  his  father  died  in  1216.     He  reigned  under  the  title  of  Henry 

in. 

Henry  IV.,  first  of  the  Lancastrian  kings.  He  was  the  son  of 
John  of  Gaunt,  Duke  of  Lancaster,  and  was  born  in  1366,  died  in  1413. 
He  is  a  character  in  Richard  II.,  as  well  as  in  the  plays  that  bear 
his  name.  In  the  former  play  he  is  called  Bolingbroke,  a  title  given 
liim  from  the  name  of  the  town  where  he  was  born.  He  was  Duke 
of  Hereford  during  Richard's  reign.  In  Richard  II.  he  appears  in 
the  first  scene  in  a  quarrel  with  Norfolk  concerning  the  murder  of 
his  uncle,  the  Duke  of  Gloucester.  His  meeting  with  Norfolk,  i. 
3.  His  intended  marriage  is  spoken  of  in  ii.  1.  He  was  to  marry 
the  cousin  of  the  French  king,  but  Richard  hearing  of  it  sent  Salis- 
bury to  prevent  it.  Richard  was  forced  to  resign  the  crown,  and 
Henry  was  proclamed,  iv.  1.  A  plot  against  his  life  was  discovered 
by  York,  v.  2.  In  I.  Henry  I V.  he  is  introduced  in  the  first  scene  ; 
in  II.  Henry  IV.  in  Hi.  1.  The  rebellion  of  the  Percys  and  their 
party  embittered  his  reign,  and  the  wildness  of  his  eldest  son  was  a 
continual  grief  to  him — evils  which  he  believed  sent  on  him  in  pun- 
ishment of  his  usurpation  and  in  fulfilment  of  the  curse  of  Richard 
II.  He  intended  to  go  on  a  crusade,  but  was  prevented  by  the  re- 
bellion. A  prophecy  had  told  him  he  was  to  die  in  Jerusalem — a 
prophecy  he  understood  when  he  found  that  the  chamber  where  he 
was  taken  with  his  last  illness  was  called  the  Jerusalem  Chamber, 
after  a  fashion  of  naming  the  rooms  of  inns.  Henry  IV.  is  brave 
and  wise  in  action,  but  at  times  morbid,  distrustful,  and  suspicious  ; 
prompt  and  noble  at  decisive  moments,  he  frets  away  his  leisure  with 
remorse  ajjd  apprehension. 


INDEX  TO  SHAKSPEEE'S   WORKS.  155 

Henry  V.,  called  Henry  of  Monmouth  and  Prince  Hal,  son  of 
Henry  IV.,  born  at  Monmouth  in  1388,  reigned  from  1413  to  1422. 
He  is  a  character  in  the  two  parts  of  Henry  lY.,  as  well  as  in  the 
play  that  bears  his  name.  His  dissoluteness  is  spoken  of  in  Richard 
II:,  V.  3,  where  he  is  mentioned  as  a  young  man,  though  in  reality 
only  eleven  years  of  age  at  that  time.  In  /.  Henry  IV.  he  is  in- 
troduced in  i.  2,  and  his  mad  pranks  with  his  wild  comrades  are 
represented  in  that  play.  In  act  v.  he  shows  unexpected  bravery  in 
the  battle  of  Shrewsbury.  In  H.  Henry  IV.  he  appears  first  in 
ii.  2.  In  the  close  of  that  scene  he  soliloquizes  on  the  company  he 
keeps  and  his  reasons  and  intentions.  He  is  described  by  Falstaflf  in 
ii,  Jf,.  His  father's  forebodings  as  to  his  reign  are  expressed  in  iv.  4.  ; 
those  of  the  Chief  Justice,  in  v.  2.  At  his  father's  death  he  reforms, 
V.  2  and  5  ;  dismisses  his  low  companions,  and  becomes  one  of  the 
most  successful  and  the  best  loved  of  English  sovereigns.  His 
versatility,  Henry  V.,  i.  1 ;  his  reputation,  ii.  4  ;  among  his  soldiers, 
iv.,  chorus ;  his  piety,  iv.  1,  8 ;  v.,  chorus  ;  at  Agincourt,  act  iv. ;  his 
wooing,  V.  2 ;  his  funeral,  /.  Henry  VI.,  i.  1 ;  his  wars  in  France, 
//.  Henry  VI.,  i.  1. 

"  The  prince,  whom  Shakspere  admires  and  loves  more  than 
any  other  person  in  English  history,  afterward  to  become  Shakspere's 
ideal  King  of  England,  cares  little  for  mere  reputation.  He  does  not 
think  much  of  himself  and  of  his  own  honour ;  and  while  there  is 
nothing  to  do,  and  his  great  father  holds  all  power  in  his  own  right 
hand.  Prince  Hal  escapes  from  the  cold  proprieties  of  the  court  to 
the  boisterous  life  and  mirth  of  the  tavern.  He  is,  however,  only 
waiting  for  a  call  to  action,  and  Shakspere  declares  that  from  the 
first  he  was  conscious  of  his  gi'eat  destiny,  and,  while  seeming  to 
scatter  his  force  in  frivolity,  was  holding  his  true  self,  well  guarded, 
in  reserve." — Dowden. 

Henry  VI.,  King  (1421-1471),  character  in  the  three  plays  that 
bear  his  name.  He  was  but  nine  months  old  when  his  father  died, 
though  in  the  first  part.  Hi.  4,  he  speaks  of  remembering  what  his 
father  said  of  Talbot.  He  is  introduced  in  Hi.  1 ;  his  coronation,  at 
Paris  (December  17, 1431),  first  part,  iv.  1 ;  his  marriage  with  Margaret 
of  Anjou  (1445),  second  part,  i.  1 ;  his  bookish  rule,  second  part,  i.  1, 
end;  his  piety,  i.  3 ;  York's  opinion  of  him,  v.  i;  his  cowardice, 
third  part,  i.  1;  his  leniency  and  conscientiousness,  ii.  2;  his  ill 
success  in  the  field,  ii.  2,  5 ;  his  weakness,  ii.  6 ;  his  return  from 
Scotland  (1465)  and  capture.  Hi.  1,  2.  In  iv.  6,  he  makes  a  prophecy 
concerning  Richmond  (Henry  VII.),  who  when  he  became  king  asked 
the  pope  to  canonize  Henry  VI.  on  account  of  it ;  but  the  pope  re- 


X56  INDEX  TO  SHAKSPERE'S   WORKS. 

fused,  on  the  ground  that  Henry's  saintliness  was  united  with  so 
much  weakness  that  to  canonize  him  would  bring  saintship  into  con- 
tempt. His  kindness  to  his  subjects,  third  part,  iv.  8  ;  his  death,  v. 
6.  During  his  reign  England  lost  all  that  she  had  gained  in  France 
under  Henry  V.,  and  all  that  was  done  to  save  his  crown  at  home 
was  done  by  his  queen — who,  however,  was  very  unpopular — and  by 
the  partisans  of  his  house.  They  were  successful  in  the  battle  of 
Wakefield,  but  were  defeated  at  St.  Albans,  Bloreheath,  Northampton, 
Towton,  Hexham,  Barnet,  and  Tewksbury.  It  was  commonly  be- 
lieved that  Henry  was  killed  by  Gloucester,  as  in  the  play.  The  re- 
moval of  his  body  to  Chertsey,  Richard  III.,  i.  2 ;  his  ghost,  v.  3. 

Henry  VII.     See  Richmond. 

Henry  VIII.  (1491-1547),  King,  enters  in  the  second  scene  of 
the  play  that  bears  his  name.  The  .divorce  from  Katherine  is  talked 
of  in  n.  1,  is  the  subject  of  ii.  2,  and  is  tried  in  ii.  4;  his  marriage 
with  Anne  Boleyn,  iii.  2 ;  befriending  of  Cranmer,  v.  3. 

"  Henry,  if  we  judge  him  sternly,  is  cruel  and  self-indulgent ;  but 
Shakspere  will  hardly  allow  us  to  judge  Henry  sternly.  He  is  a 
lordly  figure,  with  a  full,  abounding  strength  of  nature,  a  self-con- 
fidence, an  ease  and  mastery  of  life,  a  power  of  effortless  sway,  and 
seems  born  to  pass  on  in  triumph  over  those  who  have  fallen  and  are 
afflicted." — Dowden. 

Henry  IV.,  of  France,  Comedy  of  Errors,  iii.  2.  Allusion  to 
the  war  in  regard  to  his  succession,  1589-93. 

Hent,  a  more  horrid,  Hamlet,  iii.  3.  Hold,  opportunity,  or  to 
take  hold,  Pleasure  for  Pleasure,  iv.  6. 

Henton  (or  Hopkins),  Nicholas,  Henry  VIII.,  i.  1,  2  ;  ii,  1.  His 
name  was  Hopkins,  the  name  of  the  monastery  Henton. 

Herald,  at  a  masquerade,  Love's  Labour's  Lost,  v.  2. 

Heraldry,  allusions  to :  bear  for  a  difference.  A  difference  is 
a  mark  added  to  a  coat  of  arms  to  distinguish  branches  of  a  family 
or  the  sons  of  one  family,  lluch  Ado  about  Nothing,  i.  1 ;  my  golden 
coat,  Lucrece,  I.  205,  an  anachronism ;  our  new,  Othello,  iii.  Jf..  Al- 
lusion to  the  red  hand  on  the  arms  of  Ulster,  which  were  placed  on 
the  escutcheon  of  baronets  of  a  new  order  instituted  by  James  I. 
for  the  purpose  of  subduing  Ulster ;  the  dozen  white  luces  in  their 
coat.  Merry  Wives  of  Windsor,  i.  1.  The  arms  of  the  Lucy  family 
{q.  V.)  bore  three  pikes  or  luces. 

Herbert,  Sir  Walter,  character  in  Richard  III.,  first  appears  in 
V.  2 ;  mentioned  in  iv.  5  as  having  gone  to  Richmond.  He  was  a 
son  of  the  Earl  of  Pembroke  in  III.  Henry  VI. 


INDEX  TO  SHAKSPERE'S   WORKb\  157 

Herbert,  William,  Earl  of  Pembroke.     See  Pembroke. 

Herb  of  grace,  or  rue,  Richard  II.,  Hi.  4 ;  Hamlet,  iv.  5. 

Herbs,  to  remove  error,  Midsummer- Nighfs  Dream,  Hi.  2; 
salad  and  nose,  AlVs  Well  that  Ends  Well,  iv.  5 ;  virtues  of,  Romeo 
and  Juliet,  ii.  3. 

Hercules,  bully,  Merry  Wives  of  Windsor,  i.  3 ;  labours  of, 
3Iuch  Ado  about  Nothing,  ii.  1,  near  the  end ;  made  to  turn  a  spit, 
Much  Ado  about  Nothing,  ii.  1 ;  Love's  Labour's  Lost,  i.  2 ;  whip- 
ping a  top — love  a,  Love's  Labour's  Lost,  iv.  3 ;  incorrectly  placed 
among  the  nine  worthies,  Love's  Labour's  Lost,  v.  1,  2 ;  alluded  to, 
Midsummer-Night's  Dream,  iv.  1;  v.  1;  Merchant  of  Venice,  ii.  1 ; 
invoked,  As  You  Like  It,  iv.  3  ;  I.  Henry  IV.,  ii.  4.;  III.  Hefiry  VL, 
ii.  1 ;  if  you  had  been  the  wife  of,  Coriolanus,  iv.  1 ;  did  shake  down 
mellow  fruit,  Coriolanus,  iv.  6,  allusion  to  the  gardens  of  the  Hes- 
perides ;  and  his  load,  Hamlet,  ii.  2  ;  Hercules  bearing  the  globe  was 
the  sign  of  the  Globe  Theatre ;  leaving  Antony,  Antony  and  Cleo- 
patra, iv.  3. 

Hereafter,  the  all-hail,  Macbeth,  i.  5. 

Heredity,  none  of  treason,  As  You  Like  It,  i,  3;  All's  Well 
that  Ends  Well,  i.  1,  "His  sole  child,"  etc.,  and  "Be  thou  blest, 
Bertram,  and  succeed  thy  father,"  etc. 

Hereford,  earldom  of,  promised  to  Buckingham,  who  claimed 
it  as  his  by  right  of  inheritance  from  his  ancestor,  Thomas  of  Wood- 
stock, Richard  III.,  Hi.  1 ;  the  promise  urged,  iv.  2. 

Hereford,  Henry  of  (Bolingbroke,  afterward  Henry  IV.),  Rich- 
ard IL,  i.  1. 

Heretics,  could  not  die  by  drowning,  Romeo  and  Juliet,  i.  2. 

Heresy,  hated  most  by  the  deceived,  Midsummer- Night's  Dream, 
ii.  2 ;  Cranmer  accused  of,  Henry  VIIL,  v.  1,  2. 

Hermia,  a  character  in  the  Midsummer- Night's  Dream.  She  is 
beloved  by  Lysander  and  Demetrius,  and  loves  Lysander.  Her  vix- 
enish spirit  comes  out  principally  in  her  quarrels  with  the  taller 
and  gentler  Helena.     She  is  introduced  in  the  first  scene. 

Hermione,  heroine  of  the  first  part  of  A  Winter's  Tale,  wife  of 
Leontes  and  daughter  of  the  Emperor  of  Russia.  Her  character  is 
one  of  the  noblest  among  Shakspere's  women,  of  mingled  sweetness, 
forbearance,  and  dignity,  strong  and  calm.     See  Imogen. 

Hermits,  your  (beadsmen  to  pray  for  you),  Macbeth,  i.  6  ;  Oym- 
beline,  Hi.  6,  "  Great  men,"  etc. 

Hermit-life,  Timon  of  Athens,  iv.  3. 

Herne^  the  hunter,  his  oak  in  Windsor  Forest,  Merry  Wives  of 


158  INDEX  TO  SHAKSPERE'S   WORKS. 

Windsor,  iv.  4  ;  v.  5.     The  tree  shown  as  Heme's  oak  was  so  decayed 
in  1795  that  it  was  cut  down  by  the  king's  order. 

Hero,  of  war,  a,  his  defects  shown  in  peace,  Coriolanus,  iv.  7  ;  a 
pretended,  Henry  V.,  Hi.  6;  a  true,  //.  Henry  IV.,  ii.  3;  Henry 
v.,  i.  2  ;  Troilus  and  Cressida,  iv.  5. 

Hero,  of  Sestos,  As  You  Like  It,  iv.  1 ;  her  tower,  Tivo  Gentle- 
jnen  of  Verona,  Hi.  1 ;  Romeo  aiid  Juliet,  ii.  4. 

Hero,  daughter  of  Leonato,  Governor  of  Messina,  one  of  the 
principal  characters  in  Much  Ado  about  Nothing,  introduced  in  the 
first  scene.  Benedick  describes  her  appearance  at  about  the  middle 
of  the  scene.  Her  mildness  and  gentleness  are  sharply  contrasted 
with  the  fire  and  spirit  of  Beatrice,  but  her  wit  and  power  of  expres- 
sion are  shown  in  the  scene,  Hi.  1,  where  she  is  exaggerating  her 
cousin's  faults,  to  be  overheard  by  her,  and  to  carry  out  the  trick 
against  her  and  Benedick. 

Herod,  of  Jewry,  Merry  Wives  of  Windsor,  ii.  1;  Henry  V., 
Hi.  2 ;  Antony  and  Cleopatra,  i.  2  ;  Hi.  3,  6 ;  iv.  6 ;  out-Herods, 
Hamlet,  Hi.  2.    Herod  was  a  frequent  character  in  the  miracle-plays. 

Heroines,  of  poetry,  Romeo  and  Juliet,  ii.  4. 

Heronshaw,  or  hernshaw,  perhaps  the  "  hand-saw  "  of  the  prov- 
erb, Hamlet,  H.  2. 

Herring,  a  shotten,  /.  Henry  IV.,  H.  4.  One  that  has  cast  its 
spawn  and  looks  thin. 

Hesperides,  gardens  of  the.  Love's  Labour's  Lost,  iv.  3 ;  Peri- 
cles, i.  L  In  those  gardens  were  the  golden  apples  given" to  Juno  at 
her  marriage  by  the  goddess  of  the  Earth,  which  were  under  the  care 
of  the  daughters  of  Hesperis,  assisted  by  a  watchful  dragon. 

Hesperus,  sleepy  lamp  of,  AlVs  Well  that  Ends  Well,  ii.  1. 

He  that  has  and  a  little,  song,  King  Lear,  Hi.  2. 

Hey  Robin,  song  by  Sir  Thomas  Wyatt,  Twelfth  Night,  iv.  2. 

Hie  et  ubique  (here  and  everywhere),  Hamlet,  i.  5. 

Hie  ibat  Simois,  etc.,  from  Ovid,  Taming  of  the  Shrew,  Hi.  1. 
"Here  Simois  flowed;  here  was  the  Sigeian  land;  here  stood  the 
lofty  realm  of  old  Priam." 

Hie  jacet,  or,  AlVs  Well  that  Ends  Well,  Hi.  6.     "  Here  lies." 

Hide,  your,  and  you.  King  John,  H.  1.  Austria  was  represented 
as  wearing  the  lion's  skin  taken  from  Richard. 

-  Highwaymen,  St.  Nicholas's  clerks— Trojans,  /.  Henry  IV.,  H. 
1 ;  gentlemen  of  the  shade,  minions  of  the  moon,  /.  Heiiry  IV.,  i.  2. 
See  Outlaws. 

Highway  robbery,  /.  Henry  IV.,  ii.  2  ;  As  You  Like  It,  ii.  3. 


INDEX  TO  SHAKSPERE'S   WORKS.  159 

Hilding  (cowardly),  II.  Henry  IV.,  i.  1 ;  Henry  F.,  iv.  2. 

Hilding  (a  coarse  girl),  Taming  of  the  Shrew,  ii.  1. 

Hill,  perpendicular,  o'  horseback  up  a,  /.  Henry  IV.,  ii.  4. 

Hind,  the,  that  would  mate  with  the  lion,  AlVs  Well  that  Ends 
Well,  i.  1. 

Hip,  to  have  upon  the  (a  hunting  phrase).  Merchant  of  Venice, 
i.  3 ;  iv.  1. 

Hippocrates,  Merry  Wives  of  Windsor,  Hi.  1.  A  Greek  physi- 
cian, born  about  460  b.  c,  called  the  father  of  medicine. 

Hippolyta,  Queen  of  the  Amazons,  character  in  the  Midsummer- 
Night's  Dream,  introduced  in  the  first  scene.  Her  marriage  to  The- 
seus is  the  occasion  of  the  festivities.  In  classic  story  Hippolyta  was 
slain  by  Hercules,  who  came  to  obtain  her  girdle.  She  would  have 
given  it,  but,  under  a  false  impression  of  treachery  on  her  part,  he 
slew  her  and  took  it.  Antiope  is  the  name  of  the  Queen  of  the  Ama- 
zons whom  Theseus  carried  off. 

Hippopotamus,  supposed  to  be  the  "sea  monster,"  mentioned 
in  King  Lear,  i.  If.. 

Hisperia,  an  attendant  of  the  princess,  mentioned  in  As  You 
hike  It,  ii.  2. 

Historical  Plays,  the. 

"It  certainly  seems  that  Shakspere's  historic  dramas  produced 
a  very  deep  effect  on  the  minds  of  the  English  people,  and  in 
earlier  times  they  were  familiar  even  to  the  least  informed  of  all 
ranks,  according  to  the  relation  of  Bishop  Corbett.  Marlborough, 
we  know,  was  not  ashamed  to  confess  that  his  principal  acquaintance 
with  English  history  was  derived  from  them :  and  1  believe  that  a 
large  part  of  the  information  as  to  our  old  names  and  achievements 
even  now  abroad  is  due,  directly  or  indirectly,  to  Shakspere." — Cole- 
ridge. 

Hit,  a  palpable,  Hamlet,  v.  2.  ^ 

Hobbididence,  a  fiend,  King  Lear,  iv.  1.    See  Mahu. 

Hobby-horse,  Hamlet,  Hi.  2.  The  figure  of  a  horse  fastened  to 
a  man,  used  in  the  morris-dance. 

Hobby-horse  is  forgot.  Love's  Labour's  Lost,  Hi.  L  A  line 
of  an  old  song. 

Hob  nob,  is  his  word,  Twelfth  Night,  Hi.  4.     Have  or  not  have. 

Hogs,  shall  I  keep  your.  As  You  Like  It,  i.  1.  Allusion  to  the 
parable  of  the  prodigal  son.  This  making  of  Christians  will  raise 
the  price  of.  Merchant  of  Venice,  Hi.  5. 

Hold  you  there  (keep  yourself  in  that  mind).  Measure  for 
Measure,  Hi.  1. 


160  INDEX  TO  SHAKSPERE'S  WORKS. 

Holiday(s),  if  all  the  year  were,  I.  Henry  IV.,  i.  ^;  a  beautiful, 
Kifig  John,  Hi.  1. 

Holland,  John,  a  follower  of  Jack  Cade,  II.  Henry  VI.,  iv.  2. 

Holmedon,  or  Homildon  Hill,  September  14,  1402,  battle  at,  I, 
Henry  IV.,  i.  1,  3,  between  the  Scots  under  Douglas  and  the  king's 
troops  under  Hotspur. 

Holofernes,  a  character  in  Lovers  Labour's  Lost,  introduced  in 
iv.  2,  an  empty,  wordy  pedant,  characterized  by  the  page  and  the 
clown  as  having  "  been  at  a  great  feast  of  languages  and  stolen  the 
scraps,"  and  "  lived  long  on  the  alms-basket  of  words."  He  has  been 
supposed  to  be  a  caricature  of  an  Italian  teacher  in  London  named 
Florio,  who  translated  Montaigne  and  published  in  1598  a  dictionary 
called  "  A  World  of  Words,"  and  who  had  criticised  the  English 
dramas  as  being  "  neither  right  comedies  nor  right  tragedies,  but 
perverted  histories  without  decorum." 

Holy  Land,  the,  /.  Henry  IV.,  i.  1. 

Holy-rood  day,  /.  Henry  IV.,  i.  1.  September  14th,  feast  of 
the  Exaltation  of  the  Cross. 

Holy  thistle,  Much  Ado  about  Nothing,  Hi.  4.  It  was  used  as 
a  specific  for  heart  diseases. 

Holy  water,  court  (flattery).  King  Lear,  Hi.  2. 

Homage,  a  duke's,  to  a  king.  The  Tempest,  i.  1. 

Home-keeping  youth,  Two  Gentlemen  of  Verona,  i.  1 ;  Cymr 
beline,  Hi.  3. 

Homildon  Hill.     See  Holmedon. 

Honesty,  wrangle  with  one's  own,  Merry  Wives  of  Windsor,  ii. 
1 ;  description  of  Duncan's,  AlVs  Well  that  Ends  Well,  iv.  <?;  is  a 
fool,  A  Winter's  Tale,  iv.  3  or:  4;  pretence  of,  Richard  III.,  i.  3, 
"  Because  I  cannot  flatter,"  etc. ;  armed  strong  in,  Julius  Ccesar,  iv. 
3;  rarity  of,  Hamlet,  ii.  2 ;  Hi.  1;  A  Winter's  Tale,ii.  1;  Timon 
of  Athens,  iv.  3 ;  honesty  his  fault,  Timon  of  Athens,  Hi.  1 ;  no 
puritan,  AlVs  Well  that  Ends  Well,  i.  3;  unsafe,  Othello,  Hi.  3 ;  a 
man  of,  Othello,  v.  2. 

Honeymoon,  a,  Taming  of  the  Shrew,  iv.  L 

Honey-stalks,  Titus  Andronicus,  iv.  4-    Supposed  to  be  clover. 

Honi  soit,  etc..  Merry  Wives  of  Wi7idsor,  v.  5.  "  Shame  to 
him  that  thinks  evil  of  it,"  the  motto  of  the  Order  of  the  Garter. 

Honorificabilitudinitatibus,  not  so  long  as.  Love's  Labour's 
Lost,  V.  L 

Honour(s),  take  the,  Merry  Wives  of  Windsor,  ii.  1 ;  hidden  in 
necessity.  Merry   Wives  of  Windsm;  ii.  2 ;  that  it  were  purchased 


INDEX  TO  SHAKSPERE'S  WORKS.  161 

by  merit,  Merchant  of  Venice,  ii.  9 ;  the  knight  that  swore  by  his, 
As  You  hike  It,  i.  2  ;  perfect,  AlVs  ^Yell  that  Ends  Well,  i.  2 ;  real, 
AlVs  Well  that  Ends  Well,  ii.  3  ;  wins  but  a  scar,  or,  AlVs  Well  that 
Ends  Well,  Hi.  2;  a  woman's.  The  Tempest,  i.  2 ;  AlVs  Well  that 
Ends  Well,  Hi.  5  ;  iv.  2 ;  life  loved  more  than,  Pleasure  for  Meas- 
ure, Hi.  1;  I  stand  for,  A  Winter's  Tale,  Hi.  2 ;  signs  of  new-made, 
King  John,  i.  1 ;  value  of,  Richard  II.,  i.  1 ;  shows  in  the  meanest 
habit.  Taming  of  the  Shrew,  iv.  3  ;  sets  him  off  more  than  a  mortal 
seeming,  Cymheline,  i.  7;  in  war  and  in  peace,  Coriolanus,  Hi.  2  ; 
who  hates,  hates  the  gods,  Pericles,  ii.  3 ;  to  pluck  or  bring  up — 
shared  with  others,  /.  Henry  IV.,  i.  3  ;  Falstaff 's  opinion  of,  /.  Henry 
IV.,  V.  1,  end ;  lost,  //.  Henry  IV.,  ii.  3  ;  covetous  of,  Henry  V.,  iv. 
3;  TiQ^,  Richard  III,  i.  3 ;  Macbeth,  i.  3;  depths  and  shoals  of, 
Henry  VIII.,  Hi.  2  ;  for  accidental  advantages — travels  in  a  narrow 
strait,  Troilus  and  Cressida,  Hi.  3 ;  dearer  than  life,  Troilus  a7id 
Cressida,  v.  3 ;  desire  of,  Coriolanus,  i.  3 ;  at  difference  with  mercy, 
Coriolanus,  v.  3;  a  brow,  a  throne  tor,  Romeo  and  Juliet,  Hi.  2; 
love  of,  Julius  Ccesar,  i.  2  ;  justice  of  a  quarrel  for,  Hamlet,  iv.  4  or 
1 ;  an  essence  not  seen,  Othello,  iv.  1 ;  all  in,  Othello,  v.  2 ;  in  love, 
Antony  and  Cleopatra,  i.  3 ;  before  profit,  Antony  and  Cleopatra, 
H.  7  ;  if  born  to,  show  it,  Pericles,  iv.  6  ;  appeal  to,  Lucrece.  I.  568  ; 
and  death,  Lucrece,  lines  1032,  1051;  fleeting.  Sonnet  xxv.  See 
Truth,  Reputation. 

Honour,  riches,  marriage  blessing,  song.  The  Tempest, 
iv.  1. 

Hood,  Robin,  Two  Oentlemen  of  Vero7ia,  iv.  1 ;  As  You  Like  It, 
i.  1.  An  English  outlaw,  supposed  to  have  lived  at  the  close  of  the 
twelfth  and  beginning  of  the  thirteenth  century. 

Hoodman  blind  (blind-man's-buff),  AlVs  Well  that  Ends  Well, 
iv.  3 :  Hamlet,  Hi.  If.. 

Hopdance,  a  fiend,  King  Lear,  Hi.  6.    See  Mahu. 

Hope,  put  off.  The  Tempest,  Hi.  3 ;  a,  lover's  staff.  Two  Gentle- 
men of  Verona,  Hi.  1 ;  a,  curtal  (tailless)  dog,  Merry  Wives  of  Wind- 
sor, ii.  1 ;  medicine  for  the  miserable,  Pleasure  for  Measure,  Hi.  1 ; 
fulfilment  oft  comes  when  it  is  coldest,  AlVs  Well  that  Ends  Well, 
H.  1 ;  lined  himself  with.  II.  Henry  IV.,  i.  3;  is  svf if t,  Richard  III, 
v.  2 ;  never  wholly  fulfilled,  Troilus  and  Cressida,  i.  3 ;  against  evi- 
dence, Troilus  and  Cressida,  v.  2  ;  was  the,  drunk,  Macbeth,  i.  7 ; 
at  the  darkest  time,  Macbeth,  iv.  2,  3  ;  cozening,  Richard  II.,  ii.  2  ; 
far  off,  III.  Henry  VI.,  Hi.  2 ;  one  worth  fighting  for.  III.  Henry 
FZ,  v.  If. 


162  INDEX  TO  SHAKSPERE'S   WORKS. 

Hopkins,  Nicholas.     See  Henton. 

Horace,  quoted,  Titus  Andronicus,  iv.  2. 

Horatio,  character  in  Hamlet,  first  appears  in  i.  1.  He  is  Ham- 
let's most  intimate  friend,  and  the  only  one  to  whom  he  confides  the 
revelations  made  by  his  father's  ghost.  A  fine  and  noble  character, 
the  ideal  of  a  friend,  warm-hearted,  true,  and  judicious. 

Horn,  is  dry,  the,  King  Lear,  Hi.  6.  The  horn  cup  of  the  beggar, 
to  be  filled  by  charity  with  beer. 

Horns,  of  the  cuckold,  allusions  to,  Much  Ado  about  Nothing,  i. 
1 ;  As  You  Like  It,  Hi.  3 ;  iv.  1,  2  ;  Troilus  and  Cressida,  i.  1 ;  and 
in  various  other  passages. 

Homer,  Thomas,  an  armourer  in  //.  Henry  YI.,  introduced  in 
i.  3,  accused  by  his  man  of  treason,  and  sentenced  to  single  combat 
with  him.  They  fight  in  ii.  3.  The  armourer's  real  name  was 
William  Catur. 

Horror,  a  tale  of,  Hamlet,  i.  5. 

Horrors,  supped  full  of,  Macbeth,  v.  5. 

Horse(s),  the  dancing.  Love's  Labour's  Lost,  i.  2.  A  learned 
horse  belonging  to  one  Bankes  was  exhibited  in  London  in  1589.  In 
France  he  was  near  being  taken  as  a  sorcerer  at  the  instance  of  the 
Capuchins ;  description  of  a  diseased.  Taming  of  the  Shrew,  Hi.  2 ; 
of  that  colour.  Twelfth  Night,  ii.  3 ;  praise  of  a,  Henry  Y.,  Hi.  7 ; 
my  kingdom  for  a,  Richard  III.,  v.  4 ;  ate  each  other,  Macbeth,  ii. 
Jf. ;  buttered  hay  for.  King  Lear,  ii.  4 ,'  beauty  of  a,  Ye7ius  arid 
Adonis,  I.  295 ;  roan  Barbary,  Richard  IL,  v.  5. 

Horsemanship,  good,  Hamlet,  iv.  7  (or  ^);  I.  Henry  IV.,  iv. 
1;  Lover's  Complaint,  I.  106. 

Hortensio,  one  of  the  unsuccessful  suitors  for  Bianca  in  the 
Taming  of  the  Shrew,  introduced  in  i.  1.  He  gains  admission  to 
her  as  a  teacher  of  music  under  the  assumed  name  of  Licio. 

Hortensius,  servant  of  one  of  the  creditors  of  Timon  of  Athens, 
introduced  in  Hi.  If.. 

Hospitality,  want  of,  As  You  Like  It,  ii.  4  ;  extended,  A  Win- 
ter's Tale,  i.  1,  2 ;  v.  1 ;  Timon  of  Athens,  Hi.  4  /  abuse  of,  King 
Lear,  Hi.  7  ;  Lucrece,  lines  575,  842. 

Host,  trust  of  a,  Macbeth,  i.  7. 

Host  of  the  Garter  Inn,  a  witty  character  in  The  Merry 
Wives  of  Windsor,  introduced  in  i.  3. 

Hostess,  a  character  in  the  induction  to  the  Taming  of  the 
Shreiv. 

Hotspur,   Henry  Percy,  so  surnamed  from  his  quick  and  fiery 


INDEX  TO  SHAKSPERE'S  WORKS,  163 

temper,  son  of  the  Earl  of  Northumberland,  character  in  Richard 
IL,  introduced  in  ii.  S,  and  in  /.  Henry  IV.,  introduced  in  i.  3.  He 
engages  in  the  rebellion  and  is  killed  at  Shrewsbury  by  Prince 
Henry,  v.  4.  He  is  brave,  rash,  high-spirited,  devoted  to  honour, 
contemptuous  toward  all  sentimentality  and  insincerity,  impatient  of 
vanity  and  pretentiousness,  and  as  impolitic  as  his  father  is  crafty 
and  smooth.  At  the  last  moment  he  is  deserted  by  his  father  and 
deceived  by  his  uncle  Worcester,  and  falls  in  a  fruitless  attempt. 
In  /.  Henry  IV.,  Hi.  2,  he  is  described  by  the  king,  and  there  repre- 
sented as  of  about  the  same  age  as  the  prince,  though  really  twenty 
years  older. 

Hounds,  description  of,  Midsummer-NigM s  Dream,  iv.  1 ;  fell 
and  cruel.  Twelfth  Night,  i.  1,  allusion  to  the  story  of  Actaeon  ($.  u) ; 
Venus  and  Adonis,  I.  913.    See  Hunting. 

Hour-glass,  allusions  to  the,  The  Tempest,  i.  2;  Merchant  of 
Venice,  i.  1 ;  Henry  V.,  %.,  chorus  ;  Cymheline,  Hi.  2. 

Hours,  of  youth  and  age,  Sonnet  v. ;  lovers',  Othello,  Hi.  4- 

House,  taken  when  the  prop  is  taken,  3Ierchant  of  Venice,  iv.  1 ; 
a  desolate,  Richard  II,  ii.  2;  an  unfinished,  II  Henry  IV.,  i.  3;  a 
rich,  II  Henry  IV.,  v.  3  ;  in  the  rocks,  Cymheline,  Hi.  3. 

Howard,  John.    See  Norfolk. 

Howard,  Thomas.    See  Surrey. 

How  can  I  then  return  in  happy  plight,  Sonnet  xxviii. 

How  can  my  muse  want  subject  to  invent,  Sonnet  xxxviii. 

How  careful  was  I,  Sonnet  xlviii. 

How  heavy  do  I  journey,  Sonnet  I. 

How  like  a  winter  hath  my  absence  been,  Sonnet  xcvii. 

How  oft,  when  thou,  my  music,  Sonnet  cxxviii. 

How  sweet  and  lovely,  Sofinet  xcv. 

How  should  I  your  true  love,  song,  Hamlet,  iv.  5  or  2. 

Hoxes  (cuts  the  hamstrings  of),  A  Winter's  Tale,  i.  2. 

Hubert  de  Burgh,  a  character  in  Xing  John,  introduced  in  Hi. 
3.  He  was  the  king's  chamberlain,  and  in  point  of  descent  and  of 
power  was  regarded  as  the  greatest  subject  in  Europe  during  this 
and  the  succeeding  reigns  The  scene  between  him  and  Prince  Ar- 
thur is  exquisitely  pathetic,  iv.  1. 

Hugger-mugger  in  (stealthily),  Hamlet,  iv.  5  (or  2). 

Humanity,  must  prey  upon  itself,  King  Lear,  iv.  2. 

Human  nature.  Love's  Labour's  Lost.  iv.  3,  "  God  amend  us," 
etc. ;  depravity  of,  Henry  VIII.,  v.  2,  "  We  all  are  man's,"  etc. ;  Ti- 
man  of  Athens,  i.  2  ;  iv.  3,  "  All  is  oblique,"  etc. 


164  INDEX  TO  SHAKSPERE'S  WORKS. 

Hume,  John,  a  priest  in  II.  Henry  VI.,  introdrx-ecl  in  i.  2.  He 
is  playing  a  double  part  for  money. 

Humility,  Measure  for  Measure,  ii.  4,  "  Let  me  be  ignorant," 
etc.;  the  witness  of  excellency,  3Iuch  Ado  about  Nothing,  ii.  3 ;  of 
a  great  man,  AlVs  Well  that  Ends  Well,  i.  2 ;  the  base  string  of,  /. 
Henry  I V.,  ii.  4 ;  becoming  in  time  of  peace,  Henry  V.,  Hi.  1 ; 
Henry  V.,  v.  1,  "  Being  free  from  vainness,"  etc. ;  God  thanked  for, 
Richard  III.,  ii.  1 ;  the  ladder  of  ambition,  Julius  CcBsar,  ii.  1; 
despised,  Othello,  i.  1,  "  You  shall  mark  many,"  etc. ;  base,  Richard 
II.  V.  1;  refusal  to  assume,  Coriolanus,  ii.  1 ;  the  beetle  often  safer 
than  the  eagle,  OymbeUne,  Hi.  3. 

Hum.our  of  Forty  Fancies,  Taming  of  the  Shrew,  Hi.  2. 
Thought  to  be  a  collection  of  ballads. 

Hum.our(s),  all,  from  Adam  to  this  pupil  age,  I.  Henry  I V.,  ii. 
If. ;  every,  has  his  adjunct  pleasure,  Sonnet  xci. ;  claw  no  man  in  his, 
Much  Ado  about  Nothing,  i.  3.     The  favourite  catchword  of  Nym. 

Hum.ourous  (capricious  or  ill-natured),  As  You  Like  It,  i.  2 ;  ii.  3. 

Hum.ph.rey,  Duke,  of  Gloucester,  called  the  good  Duke  Hum- 
phrey, character  in  II  Henry  IV.,  where  he  is  Prince  Humphrey 
and  takes  little  part  in  the  play,  and  in  the  first  and  second  parts  of 
Henry  VI.,  introduced  in  the  opening  scene  of  each.  He  was  uncle 
of  the  infant  king,  and  protector.  His  quarrel  with  the  Cardinal  of 
Winchester,  /.  Henry  VI.,  i.  1,  3.  His  ambition  for  England's 
glory  in  foreign  war,  which  made  him  a  favorite  with  the  people,  is 
expressed  in  //.  Henry  VI.,  i.  1.  His  death  resolved  upon.  Hi.  1 ; 
accomplished,  Hi.  2  ;  his  ghost.  Hi.  2,  3. 

"  Duke  Humphrey,  of  Gloucester,  who  appears  in  the  second  part 
totally  different  from  the  Gloucester  of  the  first,  is  invested  with 
the  great  qualities  of  consummate  mildness  and  benevolence,  with  a 
Solomon-like  wisdom,  with  freedom  from  all  ambition,  and  with 
severe,  Brutus-like  justice  toward  every  one,  even  his  wife,  in  whose 
last  dishonour  he  notwithstanding  shares  as  a  private  character.  .  .  . 
There  is  too  much  noble  and  quiet  grandeur  in  Humphrey  for  us 
not  to  be  grieved  at  his  fall,  which  appears  merely  an  exemplifica- 
tion of  the  fable  of  the  lamb  that  had  troubled  the  wolf's  water.  .  .  . 
At  the  moment  of  his  fall  he  too  late  becomes  keen-sighted,  and  pre- 
dicts his  own  ruin  and  that  of  his  king." — Gervinus. 

Humphrey  Hour  (or  Hower),  Richard  III,  iv.  4..  A  puzzle 
to  the  commentators.     Xo  satisfactory  explanation  has  been  given. 

"Hundred  Merry  Tales,"  J/j^c/i  Ado  about  Nothing,  H.  1. 
Name  of  a  jest-book. 

Hungarian  wight  (gipsy),  Merry  Wives  of  Windsor,  i.  3. 


INDEX  TO  SHAKSPERE'S    WORKS.  165 

Hungary,  King  of.     See  Corvinus. 

Hunger,  Coi-iolcmus,  i.  1 ;  makes  food  savoury,  Cymheline^  Hi.  6. 

Hungerford,  Lord,  J.  Henry  VI.,  i.  1. 

Hunt,  a,  Titus  Andronicus,  ii.  2  ;  Venus  and  Adonis,  1. 870,  et  seq. 

Hunting,  terms  of,  and  allusions  to :  uncape  (let  loose).  JJerry 
Wives  of  Windsor,  Hi.  3 ;  trail — open,  Merry  Wives  of  Windsor,  iv. 
2 ;  counter — dry  foot.  Comedy  of  Errors,  iv.  2 ;  recheat,  Much  Ado 
about  Nothing,  i.  1;  hunting-scenes,  ioi-e's  Labour's  Lost,  iv.  1  ; 
Midsummer-Nigh fs  Dream,  iv.  1 ;  on  the  hip,  Merchant  of  Venice, 
i.  3 ;  cruelty  of,  As  You  LiTce  It,  ii.  1;  dogs  for.  Taming  of  the 
Shrew,  induction,  1,  2  ;  embossed  (foaming  at  the  mouth),  AlVs  Well 
that  Ends  Well,  Hi.  6;  and  elsewhere;  metaphors  from,  Twelfth 
Night,  i.  1 ;  "  all  with  purpled  hands,"  King  John,  ii.  1  or  2,  allu- 
sion to  the  custom  for  all  in  the  chase  to  dye  their  hands  in  the 
blood  of  the  game ;  before  the  game's  afoot,  thou  still  let'st  slip, 
I.  Henry  IV.,  i.  3 ;  hunt-counter  (hunter  going  backward  on  the 
trace),  //.  Henry  IV.,  i.  2;  coward  dogs,  Henry  V.,  ii.  4;  a  little 
herd,  etc.,  /.  Henry  VI.,  iv.  2 ;  razed,  Richard  III.,  Hi.  2 ;  rascal, 
worst  in  blood,  Coriolanus,  i.  1 ;  full  of  vent  (eager,  as  at  first  scent), 
Coriolanus,  iv.  5 ;  hunt's-up  (a  reveille  on  the  morning  of  a  hunt), 
Romeo  and  Jidiet,  Hi.  6  ;  recover  the  wind  of  one  (get  the  animal  to 
run  with  the  wind,  that  it  may  not  know  it  is  pursued),  Hamlet,  Hi. 
2;  this  is  counter,  Hamlet,  iv.  5  (or  2);  "This  quarry  cries  on 
havoc,"  Hamlet,  v.  2,  an  unnecessary  amount  of  game  killed  by  raw 
huntsmen  ;  putting  on  (inciting) — trash  (hold  back  by  a  trash  or  hal- 
ter), Othello,  ii.  1;  fills  up  the  cry,  Othello,  H.  3 ;  to  be  unbent, 
Cymbeline,  Hi.  4;  dangers  of,  Venus  and  Adonis,  lines  673,  883. 

Huntingdon,  John  Holland,  Earl  of,  addressed  in  Henry  V., 
V.  2,  one  of  the  king's  council. 

Husband(s),  reproaches  to  a.  Comedy  of  Errors,  H.  2 ;  v.  1; 
compared  to  an  elm,  Comedy  of  Errors,  ii.  2 ;  duty  of  a.  Comedy  of 
Errors,  Hi.  2 ;  Christian,  Merchant  of  Vtnice,  iv.  1 ;  duty  to  a.  Tam- 
ing of  the  Shrew,  v.  2 ;  Othello,  i.  3 ;   should  be  older  than  their 
wives — like  fools.    Twelfth  Night,  Hi.   1;    that    cannot    stay    the 
ongues  of  their  wives,  A  Winter's    Tale,   ii.  3,  "  Hang  all   the," 
^^. :  treachery  to  a — contrast  between  a  first  and  second,  Hamlet,  Hi. 
4 /injustice  of,  Othello,  iv.  3,  end. 

husbandry  (economy),  in  heaven,  Macbeth,  ii.  1;  borrowing 
dulls  the  edge  of,  Hamlet,  i.  3. 

Hyfcla,  bees  of,  I.  Henry  IV.,  i.  2;  Julius  CcBsar,  v.  1.     Hybla. 
in  Sicily,  noted  for  its  honey. 


166  INDEX  TO  SHAKSPERE'S  WORKS, 

Hydra  (liundred-headed  monster),  Coriolamis,  Hi.  1;  OthellOy  ii, 
3  ;  and  elseivhere. 

Hyems  (winter),  3Iidsummer-Nighfs  Dream,  ii.  2. 

Hymen,  The  Tempest,  iv.  1 ;  Much  Ado  about  Nothing,  v.  3 ; 
personated  in  As  You  Like  It,  last  scene.  Some  critics  think  this  an 
interpolation  by  some  other  hand  than  Shakspere's. 

Hyperbole(s),  Love's  Labour's  Lost,  v.  2 ;  three-piled,  Troilus 
and  Cressida,  i.  3. 

Hyperion  (Apollo),  Henry  Y.,  iv.  1;  Timon  of  Athens,  iv.  3  ; 
Titus  Andronicus,  v.  2 ;  Troilus  and  Cressida,  ii.  3;  to  a  satyr, 
HamJet,  i.  2;  curls  of,  Hamlet,  Hi.  4. 

Hypocrisy,  of  Proteus  and  Valentine,  Two  Gentlemen  of  Yerona, 
Hi.  1,  2 ;  of  Falstaff ,  Merry  Wives  of  Windsor,  ii.  1 ;  of  Angelo, 
Measure  for  Measure,  i.  4,  5 ;  Hi.  1,  2 ;  v.  1;  recommended  to  a 
husband,  Comedy  of  Errors,  Hi.  2 ;  no  vice  but  practises,  Merchant 
of  Yenice,  Hi.  2 ;  long  experience  in,  King  John,  iv.  3;  the  evil 
done  by,  Henry  Y.,  H.  2  ;  II.  Henry  YL,  Hi.  1;  of  Richard  (Glouces- 
ter), III.  Henry  YL,  Hi.  2;  Richard  III,  i.  1-6;  ii.  1,  2;  Hi.  5,  7; 
Anne  accused  of,  Henry  YIIL,  ii.  3 ;  Wolsey  accused  of,  Henry 
YIIL,  Hi.  1 ;  denounced,  Romeo  and  Jidiet,  Hi.  2,  "  0  serpent 
heart,"  etc. ;  recommended,  Macbeth,  i.  3,  to  beguile  the  time,  etc. ; 
the  devil  sugared  over,  Hamlet,  Hi.  1 ;  time  shall  uncover.  King 
Lear,  i.  1 ;  of  simpering  dames,  King  Lear,  iv.  6  ;  mere,  Othello,  ii. 
1;  of  devils,  Othello,  ii.  3,  "And  what's  he,''  etc.;  of  lago,  Othello, 
Hi.  3 ;  of  a  woman,  Othello,  iv.  1;  Lucrece,  lines  846,  1514;  cunning 
of,  3Iuch  Ado  about  Nothing,  iv.  1. 

Hyrcan  deserts,  Merchant  of  Yenice,  ii.  7.  Hyrcania,  a  wil- 
derness south  of  the  Caspian  Sea. 

Hyrcan  tiger,  Macbeth,  Hi.  4;  Hyrcanian  beast,  Hamlet,  ii.  2. 

Hysterica  passio  (hysteric  passion),  Ki7ig  Lear,  ii.  4. 

lachimo,  an  Italian,  friend  of  Philario  in  Cymbeline,  introduced 
in  i.  4;  his  wager,  i.  4;  his  stratagem,  ii.  2;  his  confession,  v.  5. 

lago,  ancient  or  ensign  of  Othello,  one  of  the  principal  characters 
in  the  play,  and  one  of  the  most  remarkable  of  all  in  the  dramas,  in- 
troduced in  i.  1.     He  hates  Cassio  for  having  been  promoted  to  ^ 
office  above  him,  and  Othello  for  having  promoted  him,  and  he  ^^ 
vises  and  carries  out  the  plot  that  culminates  in  the  murder  of  ^^s- 
demona.     See  under  Othello. 

"  Some  persons,  more  nice  than  wise,  have  thought  th.^  whole 
character  unnatural  because  his  villainy  is  without  a  sufficient  mo- 


INDEX  TO  SHAKSPERE'S    WORKS,  167 

tive.  .  .  .  lago,  in  fact,  belongs  to  a  class  of  characters  common  to 
Shakspere,  and  at  the  same  time  peculiar  to  him ;  whose  heads  are 
as  acute  and  active  as  their  hearts  are  hard  and  callous.  lago  is,  to 
be  sure,  an  extreme  instance  of  the  kind— that  is  to  say,  of  diseased 
intellectual  activity,  with  an  almost  perfect  indifference  to  moral 
good  or  evil,  or  rather  with  a  decided  preference  for  the  latter,  be- 
cause it  falls  more  readily  in  with  his  favourite  propensity,  gives 
greater  zest  to  his  thoughts  and  scope  to  his  actions."— Hazlitt. 

Icarus,  I.  Henry  VL,  iv.  6,  7;  II.  Henry  VI.,  v.  6.  Daedalus 
made  wings  for  himself  and  his  son  Icarus,  on  which  they  rose  from 
Crete;  but  the  boy  flew  too  near  the  sun,  the  wax  that  held  the 
feathers  together  melted,  and  he  fell  into  the  sea. 

Ice,  thrilling  region  of  thick-ribbed,  Pleasure  for  Pleasure,  Hi.  1. 
Iceland  dog,  Henry  V.,  ii.  1. 

Icicle(s),  on  a  Dutchman's  beard.  Twelfth  Night,  Hi.  2;  roping, 
Henry  V.,  Hi.  5;  chaste  as  the,  CorioJanus,  v.  3. 

Iden,  Alexander,  character  in  II.  Henry  VI.,  introduced  in  iv, 
10.  He  was  Sheriff  of  Kent,  and  captured  Jack  Cade,  who,  strug- 
gling against  capture,  was  mortally  wounded. 

Identity,  mistaken,  plot  of  Comedy  of  Errors  founded  on ;  and 
Viola  is  mistaken  for  Sebastian  in  Twelfth  Night,  Hi.  //.;  m  1, 
Ides  of  March,  Julius  Ccesar,  Hi.  1.  The  fifteenth. 
Idiot(s),  a  blinking,  Merchant  of  Venice,  ii.  9;  play  the,  in 
fortune's  eyes,  Troilus  and  Cressida,  Hi.  3;  holds  his  bauble  for  a 
god,  Titus  Andronicus,  v.  1;  life  a  tale  told  by  an.  Macbeth,  v.  5; 
would  be  wisely  definite,  CymUline,  i.  6. 

Idleness,  to  mar  with.  As  You  Like  It,  i.  1;  makes  man  a 
beast,  Hamlet,  iv.  4  ;  evils  of,  Antony  and  Cleopatra,  i.  S. 

Idolatry,  in  making  the.  service  greater  than  the  god,  Troilus 
and  Cressida,  H.  2  ;  pure,  Love's  Labour's  Lost,  iv.  3. 

leld,  or  ild  (yield,  shield).  As  You  Like  It,  Hi.  3;  Hamlet,  iv.  5. 
If(s),  traitorous  to  talk  of,  Richard  III,  Hi.  4/  virtues  of  an,  As 
You  Like  It,  v.  Jf.. 

If  a  hart  do  lack  a  hind,  travesty  on  Orlando's  love-verses.  As 
You  Like  It,  Hi.  2, 

If  love  make  me  forsworn,  poem.  Love's  Labour's  Lost,  iv, 
S;  Passionate  Pilgrim,  V, 

If  music  and  sweet  poetry  agree,  Passionate  Pilgrim,  vHi. 

If  my  dear  love  were  but  the  child  of  state,  Sonnet  cxxiv. 

If  the  dull  substance  of  my  flesh,  Sonnet  xliv. 

If  there  be  nothing  new,  Sonnet  lix. 

If  thou  survive  my  well-contented  day.  Sonnet  xxxiL 


168  INDEX  TO  SHAKSPERE'S  WORKS. 

li  thy  soul  check  thee,  Sonnet  cxxxvi. 

Ignominy,  to  i-ansom  life,  Measure  for  Measure,  ii,  4;  with 
thee  in  the  grave,  /.  Henry  IV.,  v.  4- 

Ignorance,  no  darkness  but.  Twelfth  Night,  iv.  2;  bliss  of,  A 
Winter's  Tale,  ii.  1,  "  How  blest  am  I,"  etc. ;  the  curse  of  God,  //. 
Henry  VI.,  iv.  7;  a  valiant,  Troilus  and  Cressida,  Hi.  3 ;  finds  not 
till  it  feels,  Coriolanus,  Hi.  3;  of  one's  losses,  Othello,  Hi.  3 ;  makes 
us  pray  for  what  would  harm  us,  Antony  and  Cleopatra,  ii.  1 ;  of 
books,  a  monster.  Love's  Labour's  Lost,  iv.  2 ;  dull,  unfeeling,  bar- 
ren, Richard  IL,  i.  3 ;  short-armed,  Troilus  and  Cressida,  ii.  3. 

Ignorant,  the,  their  eyes  more  learned  than  their  ears,  Corio- 
lanus, Hi.  2, 

I  grant  thou  wert  not  married  to  my  Muse,  Sonnet  Ixxxii. 

Ilium,  a  name  of  Troy,  but  in  Troilus  and  Cressida,  i.  1,  used 
as  the  name  of  the  palace. 

Illness,  allowances  for,  King  Lear,  ii.  4,  "  Infirmity  doth  still 
neglect  all  office  whereto  our  health  is  bound,"  etc. 

Ills,  heightened  by  the  thought  of  good,  Richard  IL,  i.  3; 
known  preferred  to  unknown,  Hamlet,  Hi.  L 

lUyria,  on  the  eastern  coast  of  the  Adriatic  Sea,  scene  of  Twelfth 
Night. 

Imagination,  effect  of  death  on,  3Iuch  Ado  about  Nothing,  iv. 
1 ;  of  lunatics,  lovers,  and  poets,  Midsummer-Night's  Dream,  v.  1 ; 
of  greatness.  Twelfth  Night,  ii.  5 ;  impotence  of,  Richard  IL,  i.  3, 
"  0  who  can  tell,"  etc. ;  help  of,  at  the  theatre,  Henry  V.,  i.,  chorus  ; 
of  riches,  Lover's  Complaint,  I.  136  ;  desperate  with,  Hamlet,  i.  4. 

Imbare  (make  bare,  expose),  Henry  V.,  i.  2. 

Imitation,  even  of  faults,  II.  Henry  IV.,  ii,  3. 

Imitator,  bx\,  Julius  Ccesar,  iv.  1,  "A  barren-spirited  fellow." 

Immanity  (inhumanity),  /.  Henry  VI.,  v.  L 

Immortality  of  the  soul.     See  Soul. 

Imogen,  daughter  of  Cymbeline,  introduced  in  the  first  scene  of 
the  play.  The  wager  concerning  her,  i.  4,'  her  interview  with 
lachimo,  1  6 ;  his  stratagem,  H.  2  ;  the  command  for  her  death,  Hi. 
2-;  her  journey,  iii.J^;  her  beauty,  Hi.  6 ;  her  apparent  death,  iv.  2. 

"  The  very  crown  and  flower  of  all  her  father's  daughters.  I  do 
not  speak  here  of  her  human  father,  but  her  divine — the  woman 
above  all  Shakspere's  women  is  Imogen.  As  in  Cleopatra  we  found 
the  incarnate  sex,  the  woman  everlasting,  so  in  Imogen  we  find  half 
glorified  already  the  immortal  godhead  of  womanhood.  I  would 
fain  have  some  honey  in  my  words  at  parting — with  ShaksperJ 
never,  but  forever  with  these  notes  on  Shakspere ;  and  I  am  theie- 


INDEX  TO  SHAKSPERE'S  WORKS.  169 

fore  something  more  than  fain  to  close  my  book  upon  the  name  of 
the  woman  best  beloved  in  all  the  world  of  song  and  all  the  tide  of 
time,  upon  the  name  of  Shakspere's  Imogen." — Swinburne. 

"  Imogen,  Desdemona,  and  Hermione  are  three  women  placed  in 
situations  nearly  similar  and  equally  endowed  with  all  the  qualities 
which  can  render  that  situation  striking  and  interesting.  They  are 
all  gentle,  beautiful,  and  innocent ;  all  are  models  of  conjugal  sub- 
mission, truth,  and  tenderness ;  and  all  are  victims  of  the  unfounded 
jealousy  of  their  husbands.  So  far  the  parallel  is  close,  but  here  the 
resemblance  ceases.  .  .  .  Critically  speaking,  the  character  of  Her- 
mione is  the  most  simple  in  point  of  dramatic  effect,  that  of  Imogen 
's  the  most  varied  and  complex.  Hermione  is  most  distinguished  by 
her  magnanimity  and  her  fortitude,  Desdemona  by  her  gentleness 
and  refined  grace,  while  Imogen  combines  all  the  best  qualities  of 
both  with  others  which  they  do  not  possess ;  consequently  she  is,  as 
a  character,  superior  to  either ;  but,  considered  as  women,  I  suppose 
the  preference  would  depend  on  individual  taste." — Mrs.  Jameson. 

Imp,  Love's  Labour's  Lost,  i.  2.  A  graff  or  shoot  of  a  tree,  and 
so  used  for  child  in  a  good  sense. 

Imp,  Richard  IL,  ii.  1.  To  imp  a  hawk  was  to  supply  missing 
wing-feathers. 

Impartiality,  the  king's  profession  of,  Richard  77.,  i.  1. 

Impatience,  to  hear  news.  As  You  Like  It,  in.  2 ;  Romeo  and 
Juliet,  ii.  5 ;  does  become  a  dog  that's  mad,  Antony  and  Cleopatra^ 
iv.,  end  ;  waiteth  on  true  sorrow,  777.  Henry  VI.,  Hi.  3. 

Impeachment  (impediment),  Henry  V.,  Hi.  6. 

Imperceiverant  (unperceiving),  Cymheline,  iv.  1. 

Imperfection(s),  piece  out  our,  Henry  V.,  i.,  chorus ;  in  every- 
thing, Luurece,  I.  869 ;  in  fair  things,  Sonnet  xxxv. 

Implacability,  Richard  III.,  i.  4,  "  Not  to  relent,"  etc.  See 
Hatred  and  Inflexibility. 

Impleached  (intertwined).  Lover's  Complaint,  I.  205. 

Imponed  (impawned,  staked),  Hamlet,  v.  2. 

Import  (imply),  Antony  and  Cleopatra,  ii.  2. 

Importance  (import),  A  Winter's  Tale,  v.  2. 

Importance  (importunity),  King  John,  ii.  1;  Twelfth  Night, 
V.  L 

Important  (importunate).  Comedy  of  Errors,  v.  1;  Much  Ado 
about  Nothing,  ii.  1;  All's  Well  that  Ends  Well,  Hi.  7  ;  King  Lear, 
iv.  J^. 

Imposition,  hereditary  ours,  the,  A  Winter's  Tale,  i.  2.  Mean- 
ing original  or  transmitted  sin. 

Impossibility,  Coriolanus,  v.  3 ;  seeming.  All's  Well  that  Ends 
Well,  ii.  J,  "  Methinks  in  thee  some  blessed  spirit  speaks,"  etc. 


170  INDEX  TO  SHAKSPERE'S   WORKS. 

Imprecations,  Merry  Wives  of  Windsor,  i.  3,  "  Let  vultures 
gripe,"  etc. ;  Troilus  and  Cressida,  ii.  3 ;  Coriolarius,  iv.  2,  "  The 
hoarded  plagues,"  etc.;  Timon  of  Athens,  Hi.  6,  end,  6;  iv.  1,3; 
Lucrece,  I.  967.     See  Curses. 

Imprisonment,  Ki7ig  John,  iv.  1;  of  Hermione,  A  Winter's 
Tale,  ii.  1 ;  long,  I.  Henry  VI.,  ii.  5. 

Impudence,  of  vice,  A  Winter's  Tale,  Hi.  2 ;  Titus  Andronicus, 
v.l. 

Incantations,  Macbeth,  i.  3 ;  iv.  1. 

Incapable  (insensible),  Hamlet,  iv.  7  or  4,. 

Inchide  (restrain),  Ttvo  Gentlemen  of  Verona,  v.  4. 

Incivilities,  between  Jaques  and  Orlando,  As  You  Like  It, 
Hi.  2. 

Inconstancy,  in  love,  Two  Gentlemen  of  Verona,  ii.  4.;  v.  4; 
Romeo  and  Juliet,  ii.  3 ;  Falstaff 's,  31erry  Wives  of  Windsor,  ii.  1 ; 
of  men.  Much  Ado  about  Nothing,  ii.  3,  song ;  of  common  men, 
///.  Henry  VI.,  Hi.  1,  "  Look,  as  I  blow  this  feather,"  etc. ;  novelty 
only  is  in  request,  Measu7'e  for  Measure,  Hi.  2. 

Incony  (unlearned,  artless).  Love's  Labour's  Lost,  Hi.  1 ;  iv.  1. 

Indecision,  II.  Henry  IV.,  ii.  3;  Macbeth,  i.  7 ;  Hamlet, 
Hi.  1 ;  iv.  4,  7.    See  Opportunity. 

Indent,  with  fears,  /.  Henry  IV.,  i.  3.  Make  bargains  with 
those  who  would  be  objects  of  fears. 

Indenture,  tripartite,  /.  Henry  IV.,  Hi.  1.  Division  of  England 
into  three  parts  by  the  conspirators. 

Independence,  Julius  Coesar,  i.  2  ;  of  fortune's  caprices,  Ham- 
let, Hi.  2. 

Index  (beginning),  Richard  III,  ii.  2 ;  iv.  4,  and  elsewhere. 

India,  metal  of  (gold),  Tivelfth  Night,  ii.  5. 

Indictment,  of  Hermione,  A  Winter's  Tale,  Hi.  2. 

Indies,  the,  Comedy  of  Errors,  Hi.  2 ;  East  and  West,  Merry 
Wives  of  Windsor,  i.  3 ;  the,  TivelftJi  Night,  Hi.  2.     See  Map. 

Indifferent  (impartial),  Richard  II,  ii.  3. 

Indigest  (chaos).  King  John,  v.  7. 

Indirection  (crookedness),  Julius  Cmsar,  iv.  3. 

Indirection,  finding  out  by,  Hamlet,  ii.  1. 

Indiscretion,  sometimes  serves  well,  Hamlet,  v.  2. 

Induction,  Taming  of  the  Shrew.  The  play  is  a  play  within  a 
play,  acted  before  the  characters  of  the  induction.     See  Lord,  a. 

Induction(s)  (preparations),  Richard  III,  i.  1;  (beginning), 
Richard  III,  iv.  4  ;  I.  Henry  1 V.,  Hi.  1. 


INDEX  TO  SHAKSPERE'S   WORKS.  171 

Industry,  King  Lear,  ii.  4,  "  To  school  to  an  ant ; "  must  have 
an  end  to  work  to,  Cym'beUne,  Hi.  6;  his  industry  is  to  go  up  and 
down  stairs,  /.  Henry  IV.,  ii.  4- 

I  never  saw  that  you  did  painting  need,  Sonnet  Ixxxiii. 

In  faith  I  do  not  love  thee  with  mine  eyes,  Soymet  cxli. 

Infant,  the.  As  You  Like  It,  ii.  7. 

Infatuation,  of  Antony,  Antony  and  Cleopatra,  i.  1 ;  laughed 
at  by  the  gods,  Antony  and  Cleopatra,  Hi.  2;  of  Hotspur,  II.  Henry 
IV.,  i.  3. 

Inflexibility,  Merchant  of  Venice,  Hi.  3;  iv.  1;  A  Winter's 
Tale,  i.  2  ;  Coriolanus,  i.  10. 

Influence,  of  associates,  J/erc/ia?^/  of  Venice,  Hi.  4;  I.Henry 
IV.,  ii.  4;  II  Henry  IV.,  v.  1;  Troilus  and  Cressida,  H.  1;  Julius 
Ccesar,  i.  2  ;  King  Lear,  i.  4. 

Informal  (incoherent).  Measure  for  Pleasure,  v.  1. 

Ingener  (artist),  Othello,  ii.  1.  "  Does  tire  the  ingener "  is  the 
reading  of  the  folio,  "  Does  bear  all  excellency  "  of  the  quarto. 

Ingratitude,  Twelfth  Night,  Hi.  4;  v.  1;  song  on,  As  You  Like 
It,  ii.  7 ;  charged  on  the  king,  I.  Henry  IV.,  iv.  3;  v.  1;  toward 
God,  Richard  III,  H.  2;  of  the  king,  Henry  VIIL,  Hi.  2,  "  Had  I 
but  served,"  etc. ;  for  good  deeds  past,  Troilus  and  Cressida,  Hi.  3, 
"Time  hath  a  wallet,"  etc. ;  Coriolanus,  H.  3 ;  in  Rome,  Titus  An- 
dronicus,  i.  1  or  2 ;  Romeo  and  Juliet,  Hi.  3;  Timon  of  Athens,  ii. 
2;  Hi.  1-4,  6;  v.  1;  of  the  populace,  Julius  Ccesar,  i.  1 ;  of  Brutus, 
Julius  Ccesar,  Hi.  2;  of  children,  King  Lear,  i.  4;  Hi.  2,  4;  of  Se- 
leucus,  An^ow^/  and  Cleopatra,  v.  2 ;  Pericles,  i.  4. 

In  hoc  spe  vivo,  Pericles,  ii.  2.    In  this  hope  I  live. 

Inherit  (possess),  Richard  IL,  i.  1,  and  elsewhere. 

Inheritance,  waiting  for  an,  Midsummer-Nigh fs  Dream,  i.  1 ; 
quarrel  concerning  an.  King  John,  i.  1;  seizure  of  an,  Richard  IL, 
H.  1 ;  haste  to  receive  an,  //.  Henry  IV.,  iv.  4- 

Iniquity,  I  lack,  Othello,  i.  2  ;  the  formal  vice,  Richard  III,  Hi.  t 
Injointed  (united),  Othello,  i.  3. 

Injury,  knowledge  of,  A  Winter's  Tale,  ii.  1,  '*  How  blest  am 

I,'*  etc. ;  the  jailor  to  pity,  Coriolanus,  v.  1 ;  complaints  of.  Sonnets 

xxxiv.—xlH;  Twelfth  Night,  v.  1 ;  the  jailor  to  pity,  Coriolanus,  i.  L 

Injustice,  blacker  by  contrast,  A  Winter's  Tale,  Hi.  2,  "  How 

he  glisters,"  etc. 

Ink,  let  gall  enough  be  in,  Twelfth  Night,  in.  2;  Cymheline,  i. 
g;  a  pit  of,  3Iuch  Ado  about  Nothing,  iv.  1. 

Inkhorn  mate  (scholar),  I  Henry  VL,  Hi.  1. 


172  INDEX  TO  SEAKSPERE'S  WORKS. 

Inkle  (used  in  embroidery,  silk,  or  braid),  A  Winter's  Tale,  iv, 
4. ;  Pericles,  v.,  prologue. 

In  loving  thee  thou  knowst  I  am  forsworn,  Sonnet  clii. 

Innocence,  plain  and  holy,  The  Tempest,  Hi.  1 ;  of  children,  A 
Winter's  Tale,  i.  2;  persuades,^  Winter's  Tale,  ii.  2;  silence  of, 
A  Winter's  Tale,  Hi.  2,  "  If  powers  divine,"  etc. ;  protestations  of, 
Othello,  iv.  2 ;  unsuspecting,  Lucrece,  I.  99  ;  trust  in,  //.  Henry  IV., 
iv.  4  ;  appearance  of,  Much  Ado  about  Nothing,  iv.  1. 

Innocent  III.     See  Pope. 

Innocents,  escape  not,  Antony  and  Cleopatra,  ii.  5. 

Inns,  the  Porpentine  (porcupine),  Comedy  of  Errors,  Hi.  1 ;  v. 
1 ;  the  Tiger,  Comedy  of  Errors,  Hi.  1 ;  the  Garter,  Merry  Wives  of 
Windsor  ;  the  Boar's  Head  at  Eastcheap,  /.  Henry  IV.  It  was  the 
custom  to  name  chambers  in  inns,  as  the  Bunch  of  Grapes,  Pome- 
granate, Half-Moon,  Jerusalem  Chamber,  etc.  See  I.  Henry  IV., 
ii.  4;  mine  ease  in  mine  inn,  I.  Henry  IV.,  Hi.  3, 

Insane,  liberty  of  the,  Hamlet,  iv.  1  or  Hi.  5. 

Insane  root,  the,  Macbeth,  i.  3.    Henbane  or  hemlock. 

Insanity,  affected  by  music,  Richard  II.,  v.  5  ;  King  Lear,  iv.  7  ; 
restraints  for,  As  You  Like  It,  Hi.  2 ;  Twelfth  Night,  v.  1 ;  gradual 
coming  on  of,  Hamlet,  ii.  2 ;  symptoms  of,  Hamlet,  ii.  1;  Hi.  1,  4; 
betrays  secrets,  Macbeth,  v.  1;  medicine  for,  Macbeth,  v.  3  ;  the  mind 
suffering  with  the  body.  King  Lear,  ii.  4;  caused  by  the  moon, 
Othello,  v.  2. 

Insinuations,  of  evil,  Othello,  Hi.  3. 

Inspiration,  of  poetry.    See  Muse,  the. 

Instances,  modern  (trivial  or  trite  examples  of  ?),  As  You  Like 
It,  ii.  7  ;  (motives)  to  second  marriage,  Hamlet,  Hi.  2. 

Instinct,  of  beasts,  in  knowing  their  friends,  Coriolanus,  ii.  1 ; 
of  royalty,  Cymheline,  iv.  2,  "  0  thou  goddess,"  etc. 

Instructions,  a  good  divine  that  follows  his  own.  Merchant  of 
Venice,  i.  2. 

Instrunient(s),  a  poor,  may  do  a  noble  deed,  Antony  and  Cleopa- 
tra, V.  2 ;  of  darkness,  Macbeth,  i.  3  ;  the  mortal,  Julius  CcBsar,ii.  1. 

Insubordination,  results  of,  Troilus  and  Cressida,  i.  3.       ' 

Insults,  to  a  coward,  Hamlet,  H.  2,  end  of  the  soliloquy. 

Insurrection,  cause  of,  I.  Henry  IV.,  v.  1 ;  turned  to  religion, 
//.  Henry  IV.,  i.  1. 

Integer  vitee,  etc.,  Titus  Andronicus,  iv.  2. 
"  He  who  is  upright  in  life  and  pure  from  sin, 
Needs  neither  the  spear  nor  bow  of  the  Moor." — Horace. 


INDEX  TO  SHAKSPERE'S  WORKS.  1Y3 

Integrity.     See  Honesty,  Honour. 

Intellect,  degrees  of,  A  Winter's  Tale,  i.  2,  "  For  thy  conceit." 

Intemperance,  Twelfth  Night,  i.  5 ;  fury  in,  Timon  of  Athens, 
Hi.  5 ;  of  the  Danes,  Hamlet,  i.  4;  folly  of,  Othello,  ii.  3;  v.  1; 
boundless,  is  a  tyranny,  Macbeth,  iv.  3. 

Intend  (pretend),  3Iuch  Ado  about  Nothing,  ii.  2 ;  Lucrece,  I. 
121 ;  Richard  III.,  Hi.  7. 

Intentions,  bad,  cannot  be  punished,  3Ieasure  for  Measure,  v.  1, 
"  Most  bounteous  sir,"  etc. ;  between  the,  and  the  act,  Julius  Ccesar, 
ii.  1 ;  good,  baulked.  King  Lear,  v.  3. 

Intercession,  The  Tempest,  Hi.  1 ;  Two  Gentlemen  of  Verona, 
i.  1 ;  Henry  YIll.,  ii.  1;  Richard  HI.,  i.  3 ;  Macbeth,  Hi.  1. 

Interest,  Merchant  of  Venice,  i.  3.    In  the  same  sense  as  usury. 

Interjections,  Much  Ado  about  Nothing,  iv.  1. 

Intermediate  state,  the,  in  Abraham's  bosom,  Richard  II.,  iv. 
1 ;  Richard  HI,  iv.  4. 

In  the  old  age  black  was  not  counted  fair,  Sonnet  cxxvH. 

Invasion,  King  John,  v.  1 ;  King  Lear,  Hi.  1. 

Invention  (imagination).  Measure  for  Pleasure,  ii.  4. 

Inventions,  return  to  plague  the  inventor,  Macbeth,  i.  7. 

Inventory,  of  Wolsey's  possessions,  Henry  VIII.,  Hi.  2 ;  Cleo- 
patra's, Antony  and  Cleopatra,  v.  2. 

Inverness,  in  Scotland,  seat  of  Macbeth's  castle  and  scene  of  a 
part  of  the  drama. 

Invised  (unseen),  Lover's  Complain!,  I.  212. 

Invitis  nubibus  (in  spite  of  clouds),  IL  Henry  VI.,  iv.  L 

Invisibility,  of  Ariel,  The  Tempest,  i.  2 ;  produced  by  fern- 
seed,  I.  Henry  IV.,  ii.  1. 

Invulnerability,  The  Tempest,  Hi.  3;  supposed,  Macbeth,  iv. 
1 ;  V.  7,  8. 

Inward  (intimate,  confidential),  Measure  for  Pleasure,  Hi.  2 ; 
Love's  Labour's  Lost,  v.  1. 

Inward  quality,  the,  drawn  after  the  outward,  Antony  and 
Cleopatra,  Hi.  11  or  13. 

lo.  Taming  of  the  Shreiv,  induction,  2.  The  daughter  of  the  river- 
god  Inachus,  changed  by  Jupiter  into  a  heifer,  and  persecuted  by  Juno. 

Ipswich,  college  at,  Henry  VIII.,  iv.  2. 

Ira  furor  brevis  est,  Timon  of  Athens,  i.  2.  Anger  is  a  short 
madness. 

Iras,  an  attendant  of  Cleopatra  in  Antony  and  Cleopatra,  intro- 
duced in  i.  2. 

12 


174  INDEX  TO  SHAKSPERE'S  WORKS. 

Ireland,  bogs  of,  Comedy  of  Errors,  Hi.  2 ;  rebellion  in,  Rich- 
ard IL,  i.  4;  1.  Henry  IV.,  iv.  4;  v.  1;  II.  Henry  VI.,  i.  1;  Hi. 
1 ;  no  snakes  in,  Richard  II.,  ii.  1. 

Iris,  goddess  of  the  rainbow  and  messenger  of  Juno,  The  Tem- 
pest, iv.  1;  AlVs  Well  that  Ends  Well,  i.  3;  II.  Henry  VI.,  Hi.  2. 

Irish,  the,  Richard  II.,  ii.  1,  "  Rough,  rug-headed  kerns." 

Irish  rat,  an.  As  You  Like  It,  Hi.  2. 

Irish  wolves,  howling  of.  As  You  Like  It,  v.  2. 

Irony,  of  the  Host,  Merry  Wives  of  Windsor,  ii.  3  ;  Hi.  1 ;  Meas- 
ure for  Pleasure,  v.  1,  in  the  duke's  praise  of  Angelo ;  suspected, 
Midsummer-NigMs  Dream,  Hi.  2  ;  in  flattery.  Taming  of  the  Shrew, 
ii.  1, 

Irregulous  (lawless),  Cymheline,  iv.  2. 

Irresolution.     See  Doubt,  Delay,  Indecision. 

Isabel,  Queen  of  France,  character  in  Henry  V.,  first  appears  in 
V.  2  ;  she  is  the  mother  of  the  Princess  Katherine,  who  becomes  the 
queen  of  Henry  V. 

Isabella,  character  in  Measure  for  Measure,  introduced  in  i.  5, 
one  of  the  noblest  of  Shakspere's  heroines. 

Her  character  is  marked  by  a  lofty  severity,  which  has  caused 
some  critics  to  call  her  unwomanly ;  but  her  purity  is  unaccompanied 
by  any  Pharisaic  harshness  toward  the  follies  of  others ;  and,  indeed, 
she  seems  to  have  no  pride  of  character  whatever,  but  simply  unaf- 
fected devotion  to  goodness  as  goodness ;  and  this  perfect  sincerity 
is  united  with  a  clear  and  strong  intellect  and  a  persistent  though 
modest  force  of  will. 

Isabella,  queen  of  Richard  II.,  is  introduced  in  the  play,  ii.  1 ; 
her  sorrow  when  he  is  taken  to  the  Tower,  and  indignation  at  his 
want  of  spirit,  v.  1. 

I  shall  no  more  to  sea,  song.  The  Tempest,  ii.  2. 

Isis  (chief  goddess  of  the  Egyptians,  wife  of  Osiris),  invoked, 
Antony  and  Cleopatra,  i.  2  ;  habiliments  of,  Antony  and  Cleopatra, 
Hi.  6. 

Is  it  for  fear  to  wet  a  widow's  eye.  Sonnet  ix. 

Is  it  thy  will.  Sonnet  Ixi. 

Island,  scenes  in  an,  The  Tempest;  Delphos  spoken  of  as  an, 
A  Winter's  Tale,  Hi.  1,  "  The  fertile  isle." 

Issues,  spirits  are  not  finely  touched  but  to  fine,  Pleasure  for 
Measure,  i.  1. 

Italy,  scene  of  part  of  Cymheline  ;  fashions  of,  see  Fashions. 

Iteration,  damnable,  /.  Henry  IV.,  i.  2 ;  truth  tired  with, 
Troilus  and  Cressida,  Hi.  2. 


INDEX   TO  SHAKSPERE'S   WORKS.  175 

It  was  a  friar  of  orders  grey,  Taming  of  the  Shreiv,  iv.  1.  A 
line  of  an  old  ballad,  other  lines  of  which  are  scattered  through  the 
play.     From  these  Percy  constructed  the  ballad,  with  additions. 

It  was  a  lording'^  daughter,  Passionate  Pilgrim,  xvi. 

Ivy^  allusion  to  the  custom  of  using  a  bush  of,  as  a  vintner's 
sign.  As  You  Like  It,  epilogue. 

Jack,  played  the,  The  Tempest,  iv.  1;  term  of  reproach,  Merry 
Wives  of  Windsor,  ii.  3  ;  Hi.  1,  2  ;  and  Jill,  Love's  Labour's  Lost,  v. 
2:  Midsummer-Night's  Dream,  Hi.  2. 

Jack-a-Lent,  Merry  Wives  of  Windsor,  Hi.  3 ;  v.  5.  A  puppet 
to  be  thrown  at  as  an  amusement  in  Lent. 

Jack-an-apes  (Jack  o'  lantern).  Merry  Wives  of  Windsor,  iv.  4. 

Jackdaws.     See  Choughs. 

Jack  o'  the  clock,  Richard  II,  v.  5  ;  Richard  III,  iv.  2.  The 
automaton  that  struck  the  hours. 

Jacks,  Taming  of  the  Shrew,  iv.  1.     Leather  drinking- vessels. 

Jacob,  Merchant  of  Venice,  i.  3. 

Jacques,  Saint,  pilgrim  of,  AlVs  Well  that  Ends  Well,  Hi.  4. 
Pilgrimages  were  made  to  the  shrine  of  St.  James  at  Compostella, 
Spain. 

Jade,  let  the  galled,  wince,  Hamlet,  Hi.  2. 

Jaded  (degraded  by  menial  labor),  II.  Henry  VI.,  iv.  1 ;  (beaten), 
Henry  VIII.,  Hi.  2. 

Jailer,  the,  character  in  the  Comedy  of  Errors,  i.  1. 

James  I.,  of  England,  flattery  of,  see  King's  Evil;  prophecy 
concerning,  Henry  VIII.,  v.  4,'  Macbeth,  iv.  1,  "  That  twofold 
balls,"  etc.  The  passages  in  Measure  for  Measure  beginning,  "  I 
love  the  people  "  {i.  1),  "  How  I  have  ever  loved  the  life  removed  " 
{i.  4),  and  "The  general  subject  to  a  well -wished  king"  {ii.  4),  are 
supposed  to  refer  to  his  dislike  to  being  the  centre  of  a  pageant. 

Jamy,  a  Scottish  captain  in  Henry  V.,  first  appears  in  Hi.  2. 

Janus,  two-headed,  3Iercha7it  of  Venice,  i.  L 

Jape  (coarse  joke),  A  Winter's  Tale,  iv.  3  or  4- 

Japhet,  II  Henry  IV,  ii.  2. 

Jaquenetta,  a  country  wench  in  Love's  Labour's  Lost,  beloved 
by  Costard  and  Don  Adriano,  first  appears  in  the  first  scene. 

Jaques,  the  melancholy,  one  of  the  lords  attending  the  banished 
duke  in  As  You  Like  It. 

"  Jaques  is  not  a  bad-hearted  egoist,  like  Don  John,  but  he  is  a 
perfectly  idle  seeker  for  new  sensations,  and  an  observer  of  bis  owp 


176  INDEX  TO  SHAKSPERE'S   WORKS. 

feelings ;  he  is  weary  of"  all  that  he  has  found,  and  especially  pro- 
fesses to  despise  the  artificial  society,  which  yet  he  never  really  es- 
capes from,  as  the  others  do.  His  wisdom  is  half  foolery,  as  Touch- 
stone's foolery  is  half  wisdom." — Dowden.        <» 

Jaques  de  Bois,  a  brother  of  Oliver  and  Orlando  in  As  You 
Like  It. 

Jasons,  many,  3Ierchant  of  Venice,  i.  1;  Hi.  2.  Jason  went 
after  the  Golden  Fleece. 

Jay(s),  Tempest,  ii.  2  ;  Taming  of  the  Shrew,  iv.  3. 

Jealousy,  of  Adriana,  Comedy  of  Errors,  ii.  1,  2 ;  Hi.  1,  end ; 
iv.  2 ;  V.  1 ;  of  Ford,  Merry  Wives  of  Windsor,  ii.  1,  2 ;  Hi.  2,  5 ; 
iv.  1,  If. ;  love  full  of,  Two  Gentlemen  of  Verona,  ii.  4  ;  iv.  4 ;  a  ruse, 
to  excite.  Twelfth  Night,  Hi.  2;  savage,  Twelfth  Night,  v.  1;  of 
Leontes,  A  Winter's  Tale,i.  2;  ii.  1,3;  Hi.  2;  Elinor's,  of  Con- 
stance, Ki7ig  John,  i,  1 ;  godly,  Troilus  and  Cressida,  iv.  4  ;  aroused, 
Coriolanus,  iv.  7  ;  of  Cassius,  Julius  Ccesar,  i.  2  ;  guilt  full  of,  Ham- 
let, iv.  5 ;  Goneril's,  King  Lear,  iv.  2,  "  But  being  widow,"  etc. ;  Re- 
gan's, King  Lear,  v.  1,  3 ;  green-eyed  monster — trifles  to,  Othello, 
Hi.  3 ;  self-made,  Othello,  Hi.  4  ;  one  wrought  up  to,  Othello,  v.  2  ; 
of  Cleopatra,  Antony  and  Cleopatra,  i.  1,  3 ;  ii.  5 ;  Hi.  3 ;  toward 
superior  officers,  Antony  and  Cleopatra,  Hi.  1 ;  of  Posthumus,  Cym- 
beline,  i.  6  ;  H.  4;  Venus  and  Adonis,  I.  649 ;  the  forgeries  of,  Mid- 
summer-Nighfs  Bream,  ii.  2  ;  Romeo  and  Juliet,  iv.  4. 

JepMhah,  III.  Henry  VI.,  v.  1 ;  Hamlet,  ii.  2. 

Jerkin,  a  buff  (sheriff's  coat),  /.  Henry  IV.,  i.  2;  an  old  cloak 
makes  a  new,  Merry  Wives  of  Windsor,  i.  3. 

Jeronimy,  Saint,  Taming  of  the  Shrew,  induction,  1.  Supposed 
to  be  Sly's  blunder  for  a  phrase  from  Thomas  Kyd's  play  "The 
Spanish  Tragedy ;  or,  Hieronimo  is  Mad  again,"  published  in  1603, 
but  acted  before  that  time.  Ben  Jonson  played  Hieronimo.  "  Go  by, 
Hieronymo,"  was  much  quoted  in  fun  in  Shakspere's  day. 

Jerusalem,  King  John,  ii.  2;  III.  Henry  VI.,  v.  4;  King  of„ 
See  Reignier. 

Jerusalem  Chamber,  the,  II.  Henry  1 V.,  iv.  4. 

Jessica,  daughter  of  Shylock  in  the  Merchant  of  Venice,  intro- 
duced in  ii.  3. 

"  The  little  Jessica  is  placed  by  the  poet  no  higher  than  she  could 
be ;  brought  up,  as  she  was,  without  a  mother,  in  the  society  of  Shy- 
lock  and  Launcelot,  with  a  mind  entirely  child-like,  noJive,  true,  and 
spotless ;  and,  if  we  may  trust  Lorenzo's  words  and  her  sure  percep- 
tion of  the  greatness  of 'Portia,  with  a  capacity  for  true  wisdom.  .  .  . 
Launcelot  also  bears  a  relation  to  the  common  idea  of  the  piece. 


INDEX   TO  SEAKSFERE'S    WORKS,  177 

• 
Greedy  and  rough  as  he  is,  he  also  is  inclined  to  lack  economy.  .  .  . 
Otherwise  the  scene  with  his  father  is  exhibited  in  parodic  contrast 
to  Jessica's  relation  with  hers.  The  emphasis  of  the  scene  lies  in  the 
words  that  the  son  of  a  father  must  ever  come  to  light,  that  child- 
like feeling  can  never  be  renounced,  not  even  by  so  coarse  and  blunt 
a  fellow  as  this.  How  much  more  should  this  be  the  case  with  a  be- 
ing so  ethereal  as  Jessica !  But  that  it  is  not  so  is  the  strongest 
shadov/  thrown  by  the  poet  upon  Shylock ;  he  has  not  designed  by  it 
to  cast  any  upon  Jessica.  '  She  is  damn'd,'  says  Shylock.  '  That's 
certain,  if  the  devil  may  be  her  judge,'  answers  Salarino." — Ger- 

VINUS. 

Jest(s),  an  unseen,  Two  Gentlemen  of  Verona,  ii.  1 ;  the  prosper- 
ity of  a,  Love's  Labour's  Lost,  v.  2,  "  Why,  that's  the  way,"  etc. ;  a, 
in  a  fool's  ear,  Hamlet,  iv.  2  (or  v.  6) ;  at  scars,  Romeo  and  Juliet,  iu 
2 ;  effect  of  a,  //.  Henry  IV.,  v.  1.    See  Jokes,  Wit. 

Jest  (masque),  Richard  II,  i.  3. 

Jesters  do  oft  prove  prophets,  King  Lear,  v.  3  ;  drive  off  melan- 
choly, Comedy  of  Errors,  i,  2. 

Jester(s),  reform  for  a,  Love's  Lahoufs  Lost,  v,  2 ;  oft  prove 
prophets.  King  Lear,  v.  3. 

Jesters.  Touchstone  in  As  You  Like  It,  Feste  in  Tivelfth 
Night,  the  clown  in  AlVs  Well  that  Ends  Well,  and  the  fool  in 
King  Lear,  are  the  most  noteworthy  jesters  in  the  plays. 

Jet  (strut),  Cymbeline,  Hi.  3,  and  elsewhere. 

Jewel(s),  move  a  woman's  mind,  Two  Gentlemen  of  Verona,  Hi.. 
1 ;  best  enamelled.  Comedy  of  Errors,  ii.  1 .'  in  the  toad's  head.  As 
You  Like  It,  ii.  1 ;  mine  eternal,  Macbeth,  Hi.  1 ;  my  heavenly. 
See  Have  I  caught,  etc. 

Jeweller,  a,  in  Timon  of  Athens,  i.  1,  seeking  patronage. 

Jewess's  eye,  3Ierchant  of  Venice,  ii.  5.  The  Jews  were  forced 
to  pay  the  price  of  an  eye — that  is,  a  ransom — to  save  themselves 
from  mutilation,  hence  the  proverb,  "  Worth  a  Jew's  eye."  Another 
explanation,  however,  makes  the  expression  a  corruption  of  the 
Italian  for  jewel,  gioia. 

Jewry,  the  sepulchre  in,  Richard  II,  ii.  1. 

Jew(s),  would  have  wept.  Two  Gentlemen  of  Verona,  ii.  3  ;  used 
opprobriously.  Two  Gentlemen  of  Verona,  ii.  5  ;  I  am  a,  if,  3Iuch  Ado 
about  Nothing,  ii.  3 ;  treatment  of,  3Ierchant  of  Venice,  i.  3  ;  ii.  2  ; 
of  like  nature  with  Christians,  3Ierchant  of  Venice,  Hi.  1 ;  an  Ebrew, 
/.  Henry  IV.,  li.  4.;  blaspheming,  Macbeth,  iv.  1. 

Jezebel,  Twelfth  Night,  ii.  5. 

Jig  (a  dance),  J/?<c/t  Ado  about  Nothing,  ii.  1;  Twelfth  Night, 
i.  3.   The  name  was  also  applied  to  a  comic  recitation  or  song,  given 


178  INDEX  TO  SHAESFERE'S   WORKS. 

by  the  clown  and  accompanied  with  dancing  and  playing  on  the 
pipe  or  tabor,  Hamlet,  ii,  2 ;  your  only  (only  your)  jig-maker,  Ram- 
let,  Hi.  2. 

Joan  of  Arc,  La  Pucelle,  character  in  Z  Henry  YI.,  first  appears 
in  t.  2,  where  she  convinces  the  dauphin  of  her  mission  by  fighting 
with  and  conquering  him.  In  v.  3,  she  summons  fiends  to  her  aid, 
but  is  taken  by  York ;  in  v.  4,  she  denies  her  father,  and  is  ordered 
to  execution.  Joan  was  burned  at  the  stake  in  Rouen,  May  30, 1431, 
History  bears  undisputed  testimony  to  the  purity,  lofty  enthusiasm, 
and  disinterestedness  of  her  character.  In  drawing  her  as  a  vile  sor- 
ceress the  authors  of  the  play  followed  the  English  prejudice  of  the 
time. 

Job,  allusion  to  the  Book  of.  Merry  Wives  of  Windsor,  v.  1; 
poor  as,  Merry  Wives  of  Windsor,  v.  5. 

Jog  on,  jog  on,  the  footpath  way,  A  Winter's  Tale,  iv.  2  or 
3.    Part  of  an  old  round  for  three  voices. 

John,  King,  drama  of.    See  King  John. 

John,  King  of  England  from  1199  to  1216,  succeeded  his  brother 
Richard  I.,  or  Cceur  de  Lion,  according  to  a  will  that  he  brought 
forward  after  Richard's  death,  though  Richard  had  named  his 
nephew  Arthur  his  successor  in  1190.  John's  title  was  further  con- 
firmed by  an  election,  the  hereditary  principle  in  succession  not  hav- 
ing been  established  at  that  time.  The  story,  in  v.  6,  that  he  was 
poisoned  by  a  monk,  is  not  found  in  the  histories  of  the  time,  but  is 
mentioned  by  Holinshed.  Of  the  character  of  John  as  delineated  in 
the  play,  Gervinus  says : 

"  He  is  not  the  image  of  a  brutal  tyrant,  but  only  the  type  of  the 
hard,  manly  nature,  without  any  of  the  enamel  of  finer  feelings,  and 
without  any  other  motives  for  action  than  those  arising  from  the 
instinct  of  this  same  inflexible  nature  and  of  personal  interest.  Se- 
vere and  earnest,  an  enemy  to  cheerfulness  and  merry  laughter,  con- 
versant with  dark  thoughts,  of  a  restless,  excitable  temperament,  he 
quickly  rises  to  daring  resolves.  ...  No  higher  principle  sustains 
the  man  and  his  energetic  designs  in  time  of  danger ;  the  great  idea 
at  the  outset  of  his  career  leaves  him  during  its  progress  and  at  its 
end.  After  his  power,  thus  displayed  against  France,  has  risen  even 
to  the  defiance  of  the  Pope  and  the  Church,  and  to  the  inconsiderate 
design  upon  the  life  of  a  child  whose  temper  was  not  to  be  feared, 
and  had  not  even  been  tried  by  him,  it  sinks  down,  struck  by  con- 
science, by  curses,  and  by  prophecies,  by  dangers  without  and  with- 
in :  he  becomes  anxious,  mistrustful,  superstitious,  fearful  to  absolute 
weakness  and  to  a  degree  of  faint-hearted ness,  in  which  he  sells  his 
country  as  cheap  as  once,  in  his  self-confidence,  he  had  held  it  dear 
and  defended  it  boldly." 


INDEX  TO  SHAKSPERE'S   WORKS.  179 

John  of  Gaunt.     See  Gaunt. 

John  of  Lancaster.     See  Lancaster. 

John,  Don,  bastard  brother  of  Don  Pedro  in  Much  Ado  about 
Nothing,  introduced  in  i.  1.  He  is  of  black  and  sour  disposition, 
and  the  villain  of  the  play.  His  jealousy  at  the  honour  Claudio  has 
brought  from  the  wars,  and  of  Don  Pedro's  love  for  hira,  leads  him 
to  prepare  the  plot  against  Hero  to  destroy  her  happiness  and  that 
of  Claudio. 

John,  a  Franciscan  friar  in  Romeo  and  Juliet,  introduced  in 

John-a-dreams,  Hamlet,  ii.  2.  A  sleepy  or  absent-minded  fellow. 

Joint  ring  (a  double  ring  used  as  a  lover's  token),  Othello, 
iv.  3, 

Jokes,  practical,  on  the  tinker,  Taming  of  the  Shrew,  induction  ; 
on  Malvolio,  Ticelfth  Night,  ii.  3 ;  on  Aguecheek,  Twelfth  Night, 
Hi.  4 ,'  on  Palstaff,  Merry  Wives  of  Windsor,  Hi.  3  ;  v.  3-5 ;  I.  Hen- 
ry IV.,  i.  2  ;  ii.  2,  4. 

Joshua,  one  of  the  nine  worthies  {q.  v.).  Love's  Labour's  Lost, 
V.  1: 

Jourdain,  Margery,  a  witch  in  //.  Henry  VI.,  introduced  in  i.  4. 

Journeys,  from  and  toward  one  loved.  Sonnets  I.,  Ii. 

Joust,  a,  Pericles  ii.  2. 

Jove,  Troilus  and  Cressida,  ii.  3 ;  lightnings  of,  The  Tempest, 
i.  2 ;  oak  of.  The  Tempest,  v.  1 ;  thunder  of.  Jleasure  for  Jleasure, 
ii.  2  ;  would  swear  Juno  an  Ethiope,  Love's  Labour's  Lost,  iv.  3 ;  the 
page  of,  As  You  Like  It,  i.  3 ;  in  a  thatched  house,  see  Ovid  ;  do- 
ing of.  Twelfth  Night,  Hi.  4  ;  his  forehead,  Hamlet,  Hi.  4 ;  bless  thee, 
Twelfth  Night,  iv.  2.  Used  here  for  God,  because  of  the  law  against 
the  use  of  God's  name  on  the  stage.  Laughs  at  lover's  perjuries, 
Romeo  and  Juliet,  ii.  2  ;  thunder-darter,  Troilus  and  Cressida,  H.  3 ; 
bird  of,  Gymbeline,  iv.  2. 

Joy,  shown  by  tears — better  to  weep  at,  than,  etc.,  31uch  Ado 
about  Nothing,  i.  1 ;  silence  the  herald  of,  Much  Ado  about  Nothing, 
ii.  1 ;  description  of,  A  Winter's  Tale,  v.  2 ;  from  wondering — to 
weeping,  II.  Henry  VI.,  i.  1 ;  sudden,  Pericles,  v.  1 ;  expression  of, 
Coriolanus,  ii.  1 ;  iv.  5  ;  v.  4  ;  subtle,  Troilus  and  Cressida,  Hi.  2. 

Judas,  hanged  on  an  elder-tree,  Love's  Labour's  Lost,  v.  2  ;  his 
hair,  As  You  Like  It,  Hi.  4-  It  was  believed  to  have  been  red.  His 
kiss,  III.  Henry  VL,  v.  7 ;  three  Judases,  Richard  II.,  Hi.  2  ;  iv.  1. 

Judas  Maccabseus,  one  of  the  nine  worthies  {q.  v.).  Lovers  La- 
hour's  Lost,  v.  1,  2, 


180  INDEX  TO  SHAKSPERE'S  WORKS. 

Judge(s),  what  'twere  to  be  a,  Pleasure  for  Pleasure,  ii.  ^  ;  a  wise 
and  upright,  3Ierchant  of  Venice,  iv.  1;  the  incorruptible,  Henry 
VIII.,  in.  1 ;  delaying,  Coriolanus,  ii.  1. 

Judgment,  conceit  of  one's  own,  corrected,  AlVs  Well  that  Ends 
Well,  iv.  3  ;  of  heaven,  I.  Henry  IV.,  Hi.  2 ;  a.  grand  juryman  since 
Noah,  Twelfth  Night,  Hi.  2 ;  fled  to  beasts,  Julius  Ccesar,  Hi.  2 ;  on 
earth,  Macbeth,  i.  7 ;  of  men,  a  parcel  of  their  fortunes,  Antony  and 
Cleopatra,  Hi.  11  or  13 ;  a  Daniel  come  to.  Merchant  of  Venice,  iv. 
1 ;  hath  bred  a  kind  of  remorse,  Richard  III,  i.  4 ;  repented  of, 
Jleasure  for  Pleasure,  ii.  2  ;  without  which  (reason)  we  are  pictures 
or  mere  beasts,  Hamlet,  iv.  5.     See  Justice. 

Judgment-day,  the,  Richard  III.,  i,  4;  I.  Henry  VI.,  i.  1. 
See  Doomsday. 

Julia,  a  sweet,  unselfish  character,  the  first  love  of  Proteus,  in 
the  Two  Gentlemen  of  Verona,  introduced  in  i.  2. 

Juliet,  a  character  in  Measure  for  Measure,  appears  in  ii.  3, 
betrothed  to  Claudio.    She  is  meek,  weak,  and  patient. 

Juliet,  heroine  of  Romeo  and  Juliet,  introduced  in  i.  3 ;  her 
beauty,  ii.  2;  her  wit  and  dignity,  Hi.  5;  meets  Romeo,  ^.  5?  is 
married,  H.  6;  drinks  the  potion,  iv.  3;  stabs  herself,  v.  3.  See 
under  Miranda. 

"  Juliet  is  love  itself.  The  passion  is  her  state  of  being,  and  out 
of  it  she  has  no  existence.  .  .  .  Such,  in  fact,  are  the  simplicity,  the 
truth,  and  the  loveliness  of  Juliet's  character,  that  we  are  not  at  first 
aware  of  its  complexity,  its  depth,  and  its  variety.  There  are  in  it  an 
intensity  of  passion,  a  singleness  of  purpose,  a  completeness  of  effect, 
which  we  feel  as  a  whole." — Mrs.  Jameson. 

Julius  Caesar,  an  historic  tragedy,  first  published  in  1623.  The 
date  of  writing  is  not  certainly  known,  but  the  critics  assign  it  to  the 
year  1600  or  1601,  judging  from  internal  evidence  as  well  as  from  an 
allusion  to  Antony's  speech  in  a  poem  printed  in  1601.  Sir  Thomas 
North's  translation  of  Plutarch  furnished  the  materials,  which  are 
taken  from  the  lives  of  Cjesar,  Brutus,  and  Antony.  The  action 
covers  the  space  from  the  feast  of  Lupercalia,  February  13,  b.  c.  44, 
to  the  battle  of  Philippi,  in  the  autumn  of  42,  a  period  of  about  two 
and  a  half  years.  There  is  an  allusion  to  a  play  called  "Julius 
Caesar"  in  Hamlet,  Hi.  2,  which  by  some  is  supposed  to  refer  to  this 
drama.  But  it  may  refer  to  a  Latin  drama  on  the  subject,  by  Rich- 
ard Eades,  which  was  played  at  Oxford  in  1582. 

"  Everything  is  wrought  out  in  the  play  with  great  care  and  com- 
pleteness;   it  is  well  planned  and  well  proportioned;  there  is  no 


INDEX  TO  SHAKSPERE'S   WORKS.  181 

tempestuousness  of  passion,  and  no  artistic  mystery.  The  style  is 
full  but  not  overburdened  with  thought  or  imagery;  this  is  one  ot 
the  most  perfect  of  Shakspere's  plays ;  greater  tragedies  are  less  per- 
feet,  perhaps  for  the  very  reason  that  they  try  to  grasp  greater,  more 
terrible,  or  more  piteous  themes,"— Dowden. 

Julius  Caesar.     See  C^sar. 

Jump  (risk)  the  life  to  come,  MacUth,  i.  7  ;  a  body  with  a  dan- 
gerous  physic,  Coriolanus,  Hi.  1 ;  fortune  lies  upon  this  jump,  Anto- 
ny and  Cleopatra,  iii.  8. 

Jump  (opportunely),  Hamlet,  i.  1 ;  Othello,  ii.  3. 

Juno,  The  Tempest,  iv.  1 ;  an  Ethiope,  Love's  Labour's  Lost,  iv. 
3;  swans  of,  As  You  Like  It,  i.  3;  his  despiteful,  AlVs  Well  that 
Ends  Well,  iii.  4,  alluding  to  the  story  of  Hercules  or  that  of  ^neas ; 
A  Winter's  Tale,  iv.  3ov  4;  Antony  and  Cleopatra,  iv.  13. 

Jupiter,  3Ierry  Wives  of  Windsor,  v.  5;  As  You  Like  It,  %i%. 
2  '  A  Winter's  Tale,  iv.  3  ov4;  in  a  vision,  Cymbeline,  v.  4;  An- 
tony and  Cleopatra,  iii.  2;  Titus  Andronicus,  iv.  3  ;  v.  2;  Troilus 
and  Cressida,  m  5  ;  v,  1.    See  Jove  and  Philemon. 

Jury,  the,  may  have  one  guiltier  than  the  prisoner.  Measure  for 

Measure,  ii.  1.  .  ,    .   -i. 

Justice,  sleeping,  Measure  for  Measure,  i.  4;  seizes  what  it 
sees,  Measure  for  Pleasure,  ii.  1;  and  mercy,  Measure  for  Measure, 
ii.  2;  innocence  with,  J/easwre  for  Measure,  iv.  2;  "His  life  is 
paralleled,"  etc.,  3Ierchant  of  Venice,  iv.  1 ;  of  condemning  by  sur- 
mises A  Winter's  Tale,  Hi.  2;  course  of  Shallow's,  77.  Henry  IV., 
V  i  -'scales  of,  77  Henry  VL,  ii.  1;  not  to  be  judged  by  results, 
Troilus  and  Cressida,  ii.  2;  gone  from  earth,  Titus  Andronicus,  iv. 
3  '  even-handed,  3Iacbeth,  i.  7;  against  gold,  Kitig  Lear,  iv.  6;  of- 
the  gods,  King  Lear,  v.  3;  delays  of,  Lucrece,  I  906;  impartial, 
Richard  II.,  i.  1 ;  of  Heaven,  Hamlet,  iii.  3. 

Justice,  description  of  a,  As  You  Like  It,  ii.  7;  of  the  peace, 
77.  Henry  VL,  iv.  7. 

Justicer  (judge).  King  Lear,  iii.  6;  iv.  2;  Cymbeline,  v.  5. 

Justify  (prove),  The  Tempest,  v.  1. 

Juvenal  (youth),  Love's  Labour's  Lost,  i.  2;  Hi.  1;  77  Henry 
IV.,  i.  2  ;  Midsummer-Night's  Dream,  iii.  L 

Kam,  clean  (all  crooked),  Coriolanus,  iii.  1. 

Kate,  name  given  to  Hotspur's  wife,  whose  real  name  was  Eliza- 
beth ;  play  on  the  name,  Taming  of  the  Shreiv,  ii.  1. 

Katharine,  one  of  the  ladies  attending  the  princess  in  Love's 
Labour's  Lost,  introduced  in  ii.  1.  '  She  is  sought  in  marriage  by 


182  INDEX  TO  SHAKSPERE'S   WORKS. 

Dumain,  l)iit  puts  him  off  for  a  twelvemonth  and  a  day.     She  was 
pock-marked,  as  appears  by  a  jest  of  Rosalind  in  v.  2. 

Katherina,  the  heroine  of  the  Taming  of  the  Shrew,  introduced 
in  i.  1,  "  Like  a  wasp,  like  a  foal  that  kicks  from  its  halter — pert, 
quick,  and  determined,  but  full  of  good  heart." 

Katherine,  daughter  of  Charles  VI.  of  France,  character  in 
Henry  F.,  first  appears,  Hi.  4.  She  afterward  became  the  wife  of 
the  English  king  ;  the  betrothal,  v.  2. 

Katherine  of  Aragon,  Queen,  character  in  Henry  VIIL,  intro- 
duced in  i.  2.  The  subject  of  her  divorce  from  Henry  is  discussed  in 
ii.  1,  2 ;  her  goodness,  ii.  2,  4 ;  her  petition  to  the  king,  the  trial, 
and  her  reproaches  to  Wolsey,  ii.  4;  interview  with  the  cardinals, 
iii.  1 ;  the  divorce,  iv.  1 ;  her  vision,  letter  to  the  king,  and  approach- 
ing death,  ii\  2.  The  character  of  Katherine  in  the  play  is  very 
noble ;  her  pride  of  birth  and  station  never  deserts  her,  but  it  is 
united  with  religious  meekness  and  long-enduring  affection,  and 
gives  a  noble  dignity  and  pathos  to  her  words  and  the  struggle  to 
maintain  the  position  to  which  she  feels  she  has  a  right.  In  the 
scenes  where  she  appears,  Shakspere  has  followed  the  chronicles 
in  the  main,  only  giving  poetic  grouping  and  colouring  to  their 
accounts.  The  scene  in  which  the  vision  appears  to  the  queen  is 
attributed  to  Fletcher. 

Kecksies.     See  Kexes. 

Keech.  (a  lump  of  fat),  Henry  YIIL,  i.  1.  Alluding  to  Wolsey's 
corpulence,  and  his  being  reputed  a  butcher's  son ;  I.  Henry  IV.,  i.  4. 

Keel  (cool).  Love's  Labour's  Lost,  v.  2. 
.    Keisar,  Merry  Wives  of  Windsor,  i.  3.    Emperor. 

Kendal  Green,  7.  Henry  IV.,  ii.  4,  colour  worn  by  Robin 
Hood's  men.     Cloth  was  made  at  Kendal  in  Westmoreland. 

Kenilworth  Castle,  II.  Henry  VI.,  iv.  4;  scene  of  II.  Henry 
VI.,  iv.  9.  An  ancient  castle,  now  in  ruins,  about  five  miles  from  War- 
wick and  the  same  distance  from  Coventry.  The  first  castle,  which 
was  destroyed  in  the  eleventh  century  in  the  wars  between  Edmund 
Ironside  and  Canute  the  Dane,  is  supposed  by  some  antiquaries  to 
have  been  founded  in  the  time  of  Kenelph,  a  King  of  Mercia,  and  to 
have  taken  its  name  from  him.  The  present  castle  was  built  by 
Geoffrey  de  Clinton  in  the  reign  of  Henry  T.  It  belonged  success- 
ively to  many  of  the  greatest  subjects  of  the  Kings  of  England — in- 
cluding Simon  de  Montfort,  John  of  Gaunt,  and  Dudley,  Earl  of  Lei- 
cester— and  several  times  reverted  to  the  crown.  John  of  Gaunt 
made  many  additions  to  the  castle,  which  are  still  known  as  Lan- 


INDEX  TO  SUAKSPERE'S   WORKS,  183 

caster's  Buildings,  and  the  celebrated  Earl  of  Leicester,  Elizabeth's 
favorite,  many  more,  called  Leicester's  Buildings.  Cromwell's  sol- 
diers plundered  the  castle  and  left  it  in  ruins.  Some  parts  have 
since  been  repaired,  and  excavations  have  revealed  underground 
apartments  and  passages  long  hidden.  During  the  Wars  of  the 
Roses  the  castle  was  sometimes  in  the  possession  of  one  party,  some- 
times in  that  of  the  other.  Henry  VI.  retired  to  it  in  some  times  of 
adversity,  as  in  the  text. 

Kennel  (gutter),  //.  Henry  VL,  iv.  1. 

Kent,  a  southeastern  county  of  England,  scene  of  II.  Henry 
VI.,  iv.  1 ;  Caesar  on  the  people  of,  II  Henry  VI.,  iv.  7 ;  men  of, 
III.  Henry   VI,  i.  2  ;  rebellion  in,  Richard  III,  iv.  ^. 

Kent,  Thomas  Holland,  Earl  of,  beheaded,  Richard  II., 
V.  6. 

Kent,  the  Earl  of,  character  in  King  Lear,  introduced  in  i.  1, 
where  he  is  banished  by  Lear  for  remonstrating  against  the  treat- 
ment of  Cordelia ;  he  follows  the  king,  however,  in  his  misfortune, 
acting  as  his  servant  under  the  name  of  Caius,  and  brings  about  the 
meeting  with  Cordelia  in  the  last  scene.     See  under  King  Lear. 

"  Kent  is  perhaps  the  nearest  to  perfect  goodness  in  all  Shak- 
spere's  characters,  and  yet  the  most  individualized.  There  is  an  ex- 
traordinary charm  in  his  bluntness,  which  is  that  only  of  a  nobleman 
arising  from  a  contempt  of  overstrained  courtesy,  and  combined  with 
easy  placability  where  goodness  of  heart  is  apparent." — Coleridge. 

Kerns  (light-armed  troops  from  Ireland),  Macbeth,  i.  2,  and  else- 
where. 

Ketly,  Sir  Richard,  his  death,  Henry  V.,  iv.  8. 

Kexes  (hollow-stemmed  weeds),  Henry  V.,  v.  2. 

Kildare,  Earl  of,  He7iry  VIII,  ii.  1. 

Killing,  a  trifle,  I  Henry  IV.,  ii.  4;  in  defense,  Timon  of  Ath- 
ens, Hi.  5  ;  do  all  men  kill  the  things  they  do  not  love  f  Jlerchant  of 
Venice,  iv.  1;  1  promised  to  eat  all  of  his,  Much  Ado  about  Noth- 
ing, i.  1. 

Killingworth.     See  Kextlworth. 

Kiln-hole  (fireplace),  A  Winter's  Tale,  iv.  3  or  4. 

Kimbolton,  a  castle  in  Huntingdonshire  belonging  to  the  Duke 
of  Manchester,  the  scene  of  Henry  VIII.,  iv.  2.  Katherine's  jewel- 
chest  and  some  of  her  clothing  are  still  shown  there. 

Kin,  a  little  more  than,  Hamlet,  i.  2  ;  one  touch  of  nature  makes 
the  whole  world,  Troilus  and  Cressida,  Hi.  S. 

Kind,  kindless,  kindly  (nature,  unnatural,  naturally),  AlVs  Well 


184  INDEX  TO  SHAKSPERE'S  WORKS. 

that  Ends  Well,  i.  3 ;  Taming  of  the  Shreiv,  i-iduction,  1;  Hamlet^ 
n.  2 ;  Antony  and  Cleopatra,  v.  2,  and  elsewhere. 

Kindness,  Twelfth  Night,  i.  5,  "  What  is  yours  to  bestow,"  etc. ; 
Timon  of  Athens,  i.  1,  2,  "  We  are  born  to  do  benefits,"  etc. ;  to  kill 
with,  Taming  of  the  Shrew,  iv.  1 ;  in  women,  wins  love.  Taming  of 
the  Shreiv,  iv.  2 ;  nobler  than  revenge.  As  You  Like  It,  iv.  3  ;  power 
of,  A  Winter's  Tale.  i.  2  ;  recalled,  King  John,  iv.  1. 

King,  On  the,  a  quatrain  attributed  to  Shakspere,  and  usually- 
placed  at  the  end  of  the  miscellaneous  poems.  If  it  is  his,  it  of 
course  refers  to  James  I.,  who  liked  to  be  flattered  about  his  learn- 
ing. It  exists  in  a  manuscript  written  in  the  time  of  his  successor, 
in  which  the  verses  are  entitled  "  Shakspere  on  the  King." 

King  Cophetua,  ballad  of.  Love's  Labour's  Lost,  i.  2. 

Kingdom,  a  diseased,  //.  Henry  IV.,  Hi.  1 ;  partition  of  a,  Kiyig 
Lear,  i.  1 ;  divisions  in  a,  King  Lear,  Hi.  1,  3 ;  any  oath  may  be 
broken  for  a.  III.  Henry  VI.,  v.  2  ;  a,  for  a  grave,  Richard  II.,  Hi. 
3  ;  for  a  horse,  Richard  III.,  v.  4  ;  for  a  mirth,  Antony  and  Cleo- 
patra, i.  If.. 

King  Henry  the  Fourth,  Parts  I.  and  II.  These  two  plays 
may  be  regarded  as  essentially  one.  The  first  part  was  written  in 
1596-'97,  the  second  in  1597-'98.  The  first  part  was  published  in 
1598,  the  second  in  1600.  The  sources  from  which  it  was  in  part 
drawn  were  the  "  Chronicles  "  of  Holinshed  and  an  older  play,  "  The 
Famous  Victories  of  Henry  the  Fifth,  containing  the  Honourable 
Battell  of  Agincourt."  From  the  play  were  gathered  the  hints  for 
the  wild  pranks  of  the  prince  and  his  low  companions.  Among  them 
was  one  Sir  John  Oldcastle,  the  name  borne  by  Falstail  in  the  first 
editions  of  Shakspere's  play,  though  he  has  little  to  say  or  do  in  the 
old  drama.  (See  Oldcastle.)  The  period  of  action  of  Part  I.  ex- 
tends from  the  battle  of  Holmedon  Hill.  September  14,  1402,  to  the 
battle  of  Shrewsbury,  July  21,  1403.  Part  II.  extends  from  that 
time  to  the  death  of  Henry  IV.  in  1413.  These  two  plays,  with  Hen- 
ry v.,  which  is  a  continuation  of  them,  are  the  finest  of  the  English 
historical  plays.    See  Henry  IV. 

"  None  of  Shakspere's  plays  are  more  read  than  the  First  and 
Second  Parts  of  Henry  the  Fourth.  Perhaps  no  author  has  ever,  in 
two  plays,  afforded  so  much  delight.  The  great  events  are  interest- 
ing, for  the  fate  of  kingdoms  depends  on  them ;  the  slighter  occur- 
rences are  diverting,  and,  except  one  or  two,  sufficiently  probable ; 
the  incidents  are  multiplied  with  wonderful  fertility  of  invention, 
and  the  characters  diversified  with  the  utmost  nicety  of  discernment 
and  the  profoundest  skill  in  the  nature  of  man.  .  .  .  The  character 


INDEX  TO  SHAKSPERE'S   WORKS.  185 

fof  the  prince]  is  great,  original,  and  just.  Percy  is  a  rugged  sol- 
dier, choleric  and  quarrelsome,  and  has  only  the  soldier  s  virtues, 
generosity  and  courage.  But  Falstaff !  unimitatod,  unimitable  J^  al- 
staff '  how  shall  1  describe  thee  ?  thou  compound  of  sense  and  vice ; 
of  sense  which  may  be  admired,  but  not  esteemed ;  of  vice  which 
may  be  despised,  but  hardly  detested.  Falstaff  is  a  character  loaded 
with  faults,  and  with  those  faults  which  naturally  produce  contempt. 
He  is  a  thief  and  a  glutton,  a  coward  and  a  boaster ;  always  ready  to 
cheat  the  weak  and  prey  upon  the  poor.;  to  terrify  the  timorous  and 
insult  the  defenseless.  .  .  .  Yet  the  man  thus  corrupt,  thus  despica- 
ble makes  himself  necessary  to  the  prince  that  despises  him,  by  the 
most  pleasing  of  all  qualities,  perpetual  gaiety,  by  an  unfailing 
power  of  exciting  laughter,  which  is  the  more  freely  indulged,  as  his 
wit  is  not  of  the  splendid  or  ambitious  kind,  but  consists  m  easy 
scapes  and  sallies  of  levity,  which  make  sport,  but  raise  no  envy.  — 
Johnson. 

King  Henry  the  Fifth,  which,  as  promised  in  the  epilogue  to 
the  second  part  oi  Henry  IV.,  continues  the  story,  was  probably 
written  in  1598  or  1599 ;  the  prologue  or  chorus  to  Act  v.  has  a  refer- 
ence to  the  absence  of  Essex  in  Ireland,  the  time  of  which  was  be- 
tween March  and  September,  1599.  There  is  also  a  reference  to 
"this  wooden  0,"  the  Globe  Theatre,  built  in  1599.  An  unauthor- 
ized and  imperfect  edition  was  published  in  1600,  and  the  full  text 
in  1623.  For  the  source  drawn  upon,  see  King  Henry  W.  The 
time  of  action  is  from  1414  to  1420.    See  Henry  V,    Dowden  says : 

"  In  this  play  Shakspere  bade  farewell  in  trumpet  tones  to  the 
history  of  England.  It  was  a  fitting  climax  to  the  great  series  of 
works  which  told  of  the  sorrow  and  the  glory  of  his  country ,^embody- 
ing  as  it  did  the  purest  patriotism  of  the  days  of  Elizabeth." 

King  Henry  the  Sixth.  The  three  plays  that  bear  this  name 
were  produced  early  in  Shakspere's  career,  the  first  from  1590  to 
1592,  the  second  and  third  from  1592  to  1594,  probably. 

The  first  part  is  held  to  be  mostly  from  other  hands  than  Shak- 
spere's, an  old  play,  perhaps,  by  Marlowe,  with  the  assistance  of 
Greene  or  Peele,  touched  up  by  Shakspere,  to  whom  are  attributed 
the  fourth  scene  of  Act  ii.,  and  that  between  Margaret  and  Suffolk, 
V.  3.  The  time  of  action  is  1422  to  1444.  The  facts  are  drawn  from 
Holinshed.  The  second  and  third  parts  are  rewritten  from  two 
older  plays:  "The  First  Part  of  the  Contention  betwixt  the  Two 
Famous  Houses  of  York  and  Lancaster,"  etc.,  and  "  The  True  Trage- 
die  of  Richard  Duke  of  York  and  the  Death  of  Good  King  Henrie 
the  Sixt."  Critics  differ  about  these  plays  ;  some  holding  that  Shak- 
spere had  a  hand  in  them,  others  that  they  were  written  by  Greene, 
Marlowe,  and  Peele,  one  or  more  of  them ;  and  some  attributing  the 


186  INDEX  TO  SHAKSPERE'S  WORKS. 

entire  revision  to  Shakspere,  others  supposing  that  Marlowe  assisted 
him.  The  period  of  action  of  the  second  part  is  1445  to  1455 ;  that 
of  the  third  part,  1455  to  1471.  The  events  connected  with  Dame 
Eleanor  in  the  second  part  really  took  place  some  years  before  the 
opening  of  the  play.  With  this  exception  the  events  generally  fol- 
low in  historical  order. 

King  Henry  the  Eighth  was  first  published  in  the  folio  of 
1623.  It  is  supposed  to  have  been  written  in  1613  or  1613,  last  of 
all  the  plays,  after  Shakspere  had  left  the  theatre.  It  is  mentioned 
under  the  present  title,  and  also  under  that  of  "  All  is  True,"  as  hav- 
ing been  on  the  stage  the  night  the  Globe  Theatre  was  burned,  June 
26,  1613,  the  fire  having  been  caused  by  the  discharge  of  some  cham- 
bers during  the  play.  Sir  Henry  Wotton  speaks  of  it  in  this  connec- 
tion as  a  new  play.  The  material  is  taken  from  the  "  Chronicles  "  of 
Holinshed  and  Stowe,  and  from  Foxe's  "  Acts  and  Monuments  of 
the  Church."  Some  critics  think  they  find  evidence  that  Fletcher 
had  a  hand  in  the  writing  of  the  play.  The  action  covers  the  period 
from  1521  to  1533.  Some  of  the  events  are  moved  from  their  actual 
sequence  in  the  history,  as  the  death  of  Katherine,  which  took  place 
in  1536.  The  prologue  and  epilogue  are  generally  believed  to  be 
the  work  of  another  hand.     See  Henry  VIII. 

King  John,  the  earliest  of  the  historic  dramas  as  to  the  period 
of  action,  was  written  probably  later  than  Richard  II.,  Richard  III., 
and  Henry  VI.  The  date  assigned  for  the  writing  is  1595.  The  first 
known  drama  founded  on  the  reign  of  John  is  "  The  Pageant  of 
Kynge  Johan,"  by  Bishop  Bale,  supposed  to  have  been  written  in 
the  reign  of  Edward  VI.  It  has  a  distinct  religious  purpose,  being 
full  of  ferocious  anti-popish  bigotry,  and  it  introduces  among  real 
historical  characters  allegorical  figures,  such  as  Treason,  Verity, 
England,  Sedition,  after  the  fashion  of  the  old  moralities.  This 
play  was  succeeded  by  "The  Troublesome  Reign  of  King  John," 
published  in  1591  and  by  a  few  critics  supposed  to  be  from  Shak- 
spere's  hand.  Upon  it  the  present  play  is  founded.  Ki7ig  John  fol= 
lows  the  truth  of  history  less  closely  than  the  other  English  histori- 
cal plays :  the  king's  unpopularity  and  troubles  are  made  to  result 
from  his  treatment  of  Arthur :  Constance  is  represented  as  a  widow 
and  living  at  the  time  Arthur  fell  into  the  hands  of  John  (see  Con- 
stance) ;  and  the  Archduke  of  Austria  and  the  Viscount  of  Lymo- 
ges  are  united  in  the  same  person  (see  Austria)  ;  the  imprisonment 
and  death  of  Arthur  are  represented  as  taking  place  in  England  in- 
stead of  France ;  the  quarrel  between  John  and  the  Pope  is  ante- 


INDEX  TO  SHAKSPERE'S  WORKS,  187 

dated  by  several  years.     Most  of  these  departures  from  fact  were  in 
the  older  play.     See  John. 

King  Lear,  one  of  the  greatest  of  the  tragedies,  was  first  pub- 
lished in  1608,  three  editions  having  appeared  in  that  year.  The 
evidence  points  to  the  year  1605  as  the  date  of  writing.  The  story 
of  Lear  was  first  told,  so  far  as  is  known,  by  Geoffrey  of  Monmouth, 
who  wrote  a  history  of  Britain  in  the  twelfth  century.  Holinshed 
also  tells  it,  and  there  was  an  older  play  on  the  subject  which  was 
published  in  1594.  The  story  is  also  told  in  Higgins's  "  Mirror  for 
Magistrates  "  and  Spenser's  "  Faerie»Queene."  The  part  of  Glouces- 
ter and  his  sons  Shakspere  found  in  Sidney's  "Arcadia,"  "The 
Paphlagonian  Unkind  King."  The  time  of  action  is  about  800  b.  c, 
the  date  given  by  Geoffrey  of  Monmouth.    See  Lear. 

"  This  firm  faith  in  filial  piety,  and  the  giddy  anarchy  and  whirl- 
ing tumult  of  the  thoughts  at  finding  this  prop  failing  it.  the  con- 
trast between  the  fixed,  immovable  basis  of  natural  affection  and 
the  rapid,  irregular  starts  of  imagination,  suddenly  wrenched  from 
all  its  accustomed  holds  and  resting-places  in  the  soul — this  is  what 
Shakspere  has  given,  and  what  nobody  else  could  give." — Hazlitt. 

"  So  ends  King  Lear,  the  most  stupendous  of  the  Shaksperean 
dramas  ;  and  Kent,  the  noblest  feature  of  the  conceptions  of  his  di- 
vine mind.  This  is  the  magnanimity  of  authorship,  when  a  writer, 
having  a  topic  presented  to  him,  fruitful  of  beauties  for  common 
minds,  waives  his  privilege  and  trusts  to  the  judicious  few  for  un- 
derstanding the  reason  of  his  abstinence.  What  a  pudder  would  a 
common  dramatist  have  raised  here  of  a  reconciliation-scene,  a  per- 
fect recognition  between  the  assumed  Caius  and  his  master ! — to  the 
suffusing  of  fair  eyes  and  the  moistening  of  cambric  handkerchiefs. 
The  old,  dying  king  partially  catching  at  the  truth,  and  immediately 
lapsing  into  obliviousness,  with  the  high-minded  carelessness  of  the 
other  to  have  his  services  appreciated,  as  one  that — 
'  Served  not  for  gain. 
Or  followed  out  of  form  ' — 
are  among  the  most  judicious,  not  to  say  heart-touching,  strokes  in 
Shakspere." — Charles  Lamb. 

King  Richard  the  Second,  second  of  the  historical  plays  as  to 
the  period  of  action,  was  written  before  King  John,  and  perhaps 
earlier  than  any  other  of  the  histories  except  /.  Henry  VI. — that  is, 
in  1593  or  1594.  The  play  was  first  published  in  1597,  a  second  edi- 
tion appeared  in  1598,  and  in  1608  a  third,  with  the  following  added 
to  the  title :  "  With  new  additions  of  the  Parliament  sceane  and  the 
deposing  of  King  Richard."  The  additions  M^ere  in  iv.  I,  one  hun- 
dred and  sixty-four  lines.  There  is  evidence  that  they  were  origi- 
nally in  the  play ;  and  they  were  presumably  omitted  in  deference  to 
Elizabeth,  who  was  sensitive  on  the  subject  of  the  deposition  of  sov- 


188  INJDEX  TO  SHAKSPEME'S  WORKS, 

ereigns.  There  were  two  other  plays  on  the  same  subject,  but  the 
source  from  which  Shakspere  drew  was  Holinshed's  "  Chronicles." 
There  are  some  few  departures  from  fact  in  the  play,  mostly  in  the 
age  of  the  characters.  The  queen,  for  instance,  was  but  nine  years 
old  at  the  time  of  Bolingbroke's  banishment  (1398) ;  John  of  Gaunt, 
spoken  of  repeatedly  as  a  very  old  man,  was  fifty -eight ;  Prince  Hen- 
ry was  but  eleven  {v.  3) ;  and  Norfolk  was  but  thirty  when  lie  speaks 
(^.  3)  of  "  the  language  1  have  learned  these  forty  years."  The  period 
of  action  is  from  September,  1398,  to  February,  1400.  The  scene  is 
in  different  parts  of  England  a^d  in  Wales.     See  Richard  II. 

"  In  itself,  and  for  the  closet,  I  feel  no  hesitation  in  placing  it  as 
the  first  and  most  admirable  of  all  Shakspere's  purely  historical 
plays.  .  .  .  But,  however  unsuited  to  the  stage  this  drama  may  be, 
Gocl  forbid  that  even  there  it  should  fall  dead  on  the  hearts  of 
jacobinized  Englishmen !  .  .  .  For  the  spirit  of  patriotic  reminiscence 
is  the  all-permeating  soul  of  this  noble  work." — Coleridge. 

King  Richard  the  Third,  the  best  known  and  most  popular 
of  the  histories,  was  first  published  in  1597,  and  is  held  to  have 
been  written  about  1592-'94,  directly  after  Henry  VI.  In  the  opin- 
ion of  some  critics,  Marlowe  had  a  hand  in  its  production.  The 
facts  were  drawn  from  the  "Chronicles"  of  Holinshed  and  Hall. 
There  were  two  older  plays  on  the  subject,  one  in  English,  "  The 
True  Tragedie  of  Richard  the  Third,"  and  one  in  Latin  by  Thomas 
Legge,  "  Richardus  Tertius ; "  but  Shakspere  took  nothing  from 
them.  The  play  takes  up  English  history  where  ///.  Henry  VI. 
leaves  it,  after  the  battle  of  Tewksbury  in  1471,  and  brings  it  to  that 
of  Bosworth  and  the  fall  of  Richard  in  1485.  Although  far  from 
being  one  of  Shakspere's  best  plays,  Richard  III.  has  always  been 
popular,  especially  on  the  stage — where,  however,  Colley  Cibber's 
version  has  usually  been  given — from  the  singular  and  intense  char- 
acter of  the  king  and  the  rapid  action  of  the  plot.  By  the  English 
of  Elizabeth's  time  it  was  especially  liked,  because  it  brought  in  the 
first  Tudor  king  as  the  saviour  of  his  country.     See  Richard  III. 

Kiiig(s),  murder  of,  A  Winter's  Tale,  i.  2,  "  If  I  can  find  exam- 
ple," etc. ;  prerogative  of,  ii.  1,  "  Why,  what  need  we,"  etc. ;  children 
of,  iv.  1  or  2  ;  quarrels  of,  King  John,  ii.  1  or  £  ;  'conduct  becoming, 
King  John,  v.  1 ;  the  curse  of,  King  John,  iv.  2  ;  sacredness  of,  Rich- 
ard II.,  i.  2 ;  Hi.  2  ;  power  of  words  of,  Richard  II.,  i.  3 ;  advice 
to,  Richard  II.,  ii.  1 ;  reverence  due  to.  Richard  II.,  Hi.  3 ;  deposi- 
tion of,  Richard  21.,  Hi.  2,  3  ;  iv.  1 ;  v.  1 ;  woe's  slaves,  Richard  11.^ 
Hi.  2 ;  sentenced  by  subjects,  Richard  II.,  iv.  1 ;   confession  d©- 


INDEX  TO  SHAKSPERE'S   WORKS,  189 

manded  of,  Richard  II.,  iv.  l ;  treatment  of  a,  deposed  by  the  popu- 
lace, Richard  II.,  v.  2  ;  remorse  of  a,  Richard  II.,  Hi.  2 ;  rights  of, 
/.  Henry  IV.,  i.  3 ;  too  lavish  of  his  company,  I.  Henry  IV.,  Hi.  S  ; 
murder  of  the  wardrobe  of  the,  I.  Henry  I V.,  v.  3 ;  fickleness  of  the 
populace  toward,  II,  Henry  IV.,  i.  3 ;  kin  to,  //.  Henry  /F.,  n.  2 ; 
uneasiness  of,  II.  Henry  1 V.,  Hi.  1 ;  majesty  of,  like  heavy  armour, 
//.  Henry  IV.,  iv.  4;  what  have,  that  privates  have  not — cares  of — 
pVii  a  man — responsibility  of,  Henry  V.,  iv.  1 ;  presence  of  a,  I.  Hen- 
ry VI.,  Hi.  1;  troubles  of  a,  II  Henry  VI.,  iv.  9;  cares  of  a.  III. 
Henry  VI.,  ii.  5 ;  prophecy  concerning  a  future  (Richmond),  III. 
Henry  VI.,  iv.  6  ;  his  name  a  tower  of  strength,  Richard  III,  v.  3  ; 
danger  of  crossing  the  pleasure  of,  Henry  VIII.,  Hi.  1 ;  honour  of 
a,  Troilus  and  Cressida,  H.  2  ;  the  Lord's  anointed  temple,  Macbeth, 
H.  3 ;  graces  becoming  a,  Macbeth,  iv.  3 ;  many  lives  dependent  on 
a,  Hamlet,  Hi,  3 ;  divinity  doth  hedge  a,  Hamlet,  iv.  5  (or  2);  prog- 
ress of,  Hamlet,  iv.  3  (or  v.  7) ;  every  inch  a,  King  Lear,  iv,  6  ; 
smiles  and  frowns  of,  reflected,  Cymbeline,  i.  1 ;  vices  of,  Pericles,  i. 
1;  secrets  of,  Pericles,  i.  3 ;  misdeeds  of,  Lucrece,  I.  609 ;  like  the 
sea,  Lucrece,  I.  652 ;  their  baseness  worse,  Lucrece,  I.  1002 ;  knowl- 
edge in  a,  On  the  King  ;  annoyed  by  crowds,  see  James  I. ;  adviser 
of  a,  //.  Henry  IV.,  iv.  2 ;  a  versatile,  Henry  V.,  v.  1 ;  troubles  of  a, 
Richard  III,  i.  4  ;  Mulmutius,  the  first,  of  Britain,  Cymbeline,  Hi, 
1 ;  flattery  of,  Pericles,  i.2.    See  Crown. 

King  Stephen  was  a  worthy  peer,  song,  Othello,  ii.  3, 

King's  evil,  the,  3Iacbeth,  iv.  3.  A  compliment  to  James  I., 
who  revived  the  old  superstitious  ceremony  of  touching  the  scrofu- 
lous, who  were  supposed  to  be  healed  by  the  touch  of  a  king. 

Kinship,  claims  of.  As  You  Like  It,  i.  1 ;  power  of,  Coriolanus, 
v.  3  ;  instinct  of,  Cymheline,  iv.  2,     See  Blood. 

Kisses,  to  shadows.  Merchant  of  Venice,  ii.  9;  religious.  As  You 
Like  It,  Hi.  4;  to  fill  pauses,  As  You  Like  It,  iv.  1;  at  marriage, 
Taming  of  the  Shrew,  Hi.  2 ;  Richard  II.,  v.  1;  four  negatives, 
Twelfth  Night,  v.  1 ;  women  influenced  by,  A  Winter's  Tale,  i.  2 ; 
given  to  a  partner,  Henry  VIII.,  i.  4;  of  pilgrims— by  the  book, 
Romeo  and  Juliet,  i.  5 ;  hard,  Othello,  Hi.  3 ;  Venus  and  Adonis, 
lines  18,  54,  84,  96,  115,  207,  479,  511,  536  ;  I.  Henry  IV,,  Hi.  1  ; 
Coriolanus,  v.  3 ;  Othello,  H.  1 ;  comfortless,  as  frozen  water  to  a 
starved  snake,  Titus  Andronicus,  Hi.  1 ;  to  every  sedge,  Two  Gentle- 
men of  Verona,  ii.  7 ;  kingdoms  and  provinces  kissed  away,  Anto 
ny  and  Cleopatra,  Hi.  8. 

Knapped  (snapped),  Jlerchant  of  Venice,  Hi.  1. 
13 


190  INDEX  TO  SHAKSPERE'S   WORKS. 

Kiiave(s),  or  fool,  AlVs  Well  that  Ends  Well,  iv.  5 ;  some  most 
villainous,  Othello,  iv.  2  ;  pleading  for  a,  IL  Henry  IV.,  v.  1 ;  will 
backbite,  //.  Henry  IV..  v.  1 ;  description  of  a.  King  Lear,  ii,  f ;  a 
slippery  and  subtle,  Othello,  ii.  1. 

Knell,  it  is  a,  Macbeth,  ii.  1 ;  iv.  3  ;  v.  7  ;  talks  like  a,  Corio- 
lanus,  V.  4.0 

Knife,  inscription  on  a,  Merchant  of  Venice,  v.  1, 

Knight,  a  carpet,  Twelfth  Night,  Hi.  4,  "  on  carpet  considera- 
tion," 

Knighthood,  will  become  hackneyed,  Merry  Wives  of  Windso?-, 
ii.  2,  "  These  knights  will  hack."  A  supposed  allusion  to  the  liberal- 
ity with  which  James  I.  bestowed  the  honour  of  knighthood.  If  so, 
the  passage  must  have  been  inserted  some  time  after  the  play  was 
first  presented.  Another  meaning  has  been  suggested — namely, 
these  knights  will  be  degraded,  "  hack  "  being  the  term  for  taking 
off  a  knight's  spurs. 

Knight  of  the  Burning  Lamp,  7.  Henry  IV.,  Hi.  3. 

Knights,  encounter  of,  Richard  II. ,  i.  3 ;  at  a  tournament, 
Pericles,  ii,  2. 

Knights  of  the  Garter.     See  Garter,  Order  of  the. 

Knocking,  at  the  gate,  the,  Macbeth,  ii.  2,  3. 

Knot-grass,  hinders  growth,  Midsummer- Nighfs  Dream,  Hi.  2. 
It  was  supposed  that  an  infusion  of  knot-grass  taken  by  a  child 
would  retard  its  growth. 

Knots,  in  trees,  Troilus  and  Cressida,  i.  3. 

Knowledge,  too  much,  Love's  Labour's  Lost,  i.  1 ;  seeming. 
Airs  Well  thai  Etids  Well,  ii.  3 ;  accursed,  A  Winter's  Tale,  ii.  1 ; 
ill-inhabited  (ill-housed).  As  You  Like  It,  Hi.  3 ;  the  wing,  where- 
with we  fly  to  heaven,  II.  Henry  VI.,  iv.  7 ;  limited,  Hamlet,  i.  5. 
"  There  are  more  things  in  heaven  and  earth,"  etc. ;  of  the  present 
only,  Hamlet,  iv,  5  or  2,  "  We  know  what  we  are,  but,"  etc. 

Kyd,  Thomas.    See  Jeronimy. 

Laban,  3Ierchant  of  Venice,  i.  3. 

Labienus,  mentioned  in  Antony  and  Cleopatra,  i.  2. 

Labour,  menial,  made  pleasure,  The  Tempest,  Hi.  1 ;  physics 
pain,  when  delighted  in,  Macbeth,  H.  3 ;  vain,  Richard  II,  ii.  2 ; 
Henry  F.,  iv.  1 ;  HI  Henry  VI.,  i.  4. 

Labras  (lips).  Merry  Wives  of  Wi7idsor,  i.  7, 

Lackbeard,  my  lord.  Much  Ado  about  Nothing,  iv.  1. 

Ladies,  know  if  they  be  fair,  As  You  Like  It,  ii.  7.  See  Women. 


INDEX  TO  SHAKSPERE'S  WORKS,  191 

liadies'  men,  called  lisping  hawthorn-ljuds,  3Ierry  Wives  of 
Windsor,  UL  3. 

Lady,  attending  the  queen  in  Richard  IL  Eleanor  Holland, 
widow  of  the  fourth  Earl  of  March. 

Lady,  an  old  friend  of  Anne  Boleyn  in  Henry  YIIL,  sometimes 
called  Lady  Denny. 

Lady-smocks,  Love's  Labour's  Lost,  v.  2. 

"  A  white  field-flower,  called  also  mayflower  and  Canterbury  bell. 
Growing  in  masses,  it  looks  like  linen  bleaching." — White. 

Laertes,  son  of  Polonius  and  brother  of  Ophelia,  in  Ramht,  in- 
troduced in  i.  2,  He  is  sent  to  Paris,  and  his  father  despatches  Rey- 
naldo  to  watch  him,  ii.  1.  He  seeks  vengeance  for  his  father's 
death,  iv.  5  or  2,  and  the  mob  proclaim  him  king.  He  dies  by  his 
own  treacherous  weapons,  v.  2, 

"Yet  I,  acknowledge  that  Shakspere  evidently  wishes,  as  much  as 
possible,  to  spare  the  character  of  Laertes — to  break  the  extreme 
turpitude  of  his  consent  to  become  an  agent  and  accomplice  of  the 
king's  treachery ;  and  to  this  end  he  reintroduces  Ophelia  at  the 
close  of  this  scene  to  afford  a  probable  stimulus  of  passion  in  her 
brother." — Coleridge. 

"  And  Laertes,  who  takes  violent  measures  at  the  shortest  notice. 
to  revenge  Ms  father's  murder,  is  in  another  way  a  contrast  [to 
Hamlet] ;  but  Laertes  is  the  young  gallant  of  the  period,  and  his 
capacity  for  action  arises  in  part  from  the  absence  of  those  moral 
checks  of  which  Hamlet  is  sensible." — Dowden. 

Lafeu,  an  old  lord  in  AWs  Well  that  Ends  Well,  introduced  in 
^.  1,  courtier-like  and  wordy,  characterized  by  the  king's  words  m 
ii.  1,  "  Thus  he  his  special  nothing  ever  prologues,"  but  sound,  true, 
and  of  quick  discernment,  the  first  to  discover  the  true  character  of 
Parolles  {ii.  3),  "  So,  my  good  window  of  lattice,  fare  thee  well ;  thy 
casement  I  need  not  open,  for  I  look  through  thee." 

La  fin,  etc.,  II.  Henry  VI.,  v.  2.     The  end  crowns  the  work. 

Lakin  (ladykin).  The  Tempest,  Hi.  3,  Little  lady,  the  Virgin 
Mary. 

Lamb,  the,  entreats  the  butcher,  Cymheline,  Hi.  4. ;  and  the  fox, 
Measure  for  Measure,  v.  1 ;  Timon  of  Athens,  iv.  3 ;  and  the  wolf. 
///.  Henry  VI.,  i.  1,  If. ;  in  a  borrowed  skin.  III.  Henry  VI.,  Hi.  1 : 
follows  the  lion.  III.  Henry  VI.  iv.  8 ;  doing  the  feats  of  a  lion  in 
the  figure  of  a.  Much  Ado  about  Nothing,  i,  1 ;  offered  up,  Macbeth, 
iv,  3. 

Lambert's  (St.)  day  (September  17th),  Richard  1 1,  i.  1. 

Lamentations,  moderate,  for  the  dead,  AlVs   Well  that  Ends 


192  INDEX   TO  SRAKSPERE'S  WORKS. 

Well,  L  1 ;  the  wise  do  not  indulge  in,  ///.  Henry  VI.,  v.  If. ;  why 
should  calamity  be  full  of  words,  Richard  III.,  iv.  4  ;  ease  the  heart, 
Richard  III,  iv.  4  ;  called  for  in  advance,  Troilus  and  Cressida,  ii.  2, 

Lammas-tide  (August  1st),  Romeo  and  Juliet,  i.  3. 

Lament  (or  Lamond),  a  fencer  spoken  of  in  Hamlet,  iv.  7  (or  4). 
This  character  is  supposed  to  be  intended  for  Raleigh.  See  under 
the  name  of  the  play. 

Lam.ps,  aye-remaining,  Pericles,  Hi.  L  The  perpetual  lamps 
lighted  for  the  dead. 

Lancaster,  House  of,  its  wars  with  the  House  of  York.  See 
Wars  of  the  RoseSo 

Lancaster,  John  of  Gaunt,  Duke  of.    See  Gaunt, 

Lancaster,  John,  Prince  of,  character  in  both  parts  of  Henry 
IV.,  and,  under  the  title  of  Duke  of  Bedford,  in  Henry  V.  and  1. 
Henry  VI.  In  I.  Henry  IV.  he  is  introduced  in  i.  1,  and  in  //. 
Henry  IV.  in  iv.  2.  In  II.  Henry  IV.,  iv.  3,  Falstafl  describes  him 
contemptuously  as  a  demure  and  sober-blooded  boy,  and  probably  a 
coward.  His  father  and  brother,  however,  praise  his  bravery  on  the 
field  of  Shrewsbury.    See  Bedford. 

Land- damn,  A  Wiriter's  Tale,  ii.  1.  Conjectured  to  be  an  allu- 
sion to  the  punishment  of  being  half  buried  and  left  to  starve.  Per- 
haps it  means  to  be  forced  to  quit  the  land. 

Land(s),  an  owmer  of,  spacious  in  the  possession  of  dirt,  Hamlet, 
V.  2 ;  you  have  sold  your  own  to  see  other  men's.  As  You  Like  It,  iv. 
1 ;  cheap,  /.  Henry  IV.,  ii.  4  ;  nothing  left  of  all  my,  but  my  body's 
length.  III.  Henry  VI.,  v.  2  ;  to  be  gained  by  wit,  if  not  by  birth, 
King  Lear,  i.  2. 

Langley,  scene  of  Richard  II.,  Hi.  I^.  There  are  fifteen  places 
named  Langley  in  England,  widely  separated,  and  it  is  difficult  to 
say  which  is  intended. 

Langton,  Stephen,  Archbishop  of  Canterbury,  King  John,  Hi.  1. 

Language,  taught  to  Caliban,  The  Tempest,  i.  2  ;  stilted.  Love's 
Labour's  Lost,  iv.  2;  v.  1;  travesty  on  high-flown.  Love's  Labour- s 
Lost,  i.  1;  iv,  1 ;  Hamlet,  v.  2;  pretended,  AlVs  Well  that  Ends  Welly 
iv.  1 ;  bolted,  Coriolanus,  Hi.  1 ;  he  speaks  holiday,  Merry  Wives  of 
Windsor,  Hi.  2 ;  in  movement,  Troilus  and  Cressida,  iv.  5. 

Lantern,  Romeo  and  Juliet,  v.  3.  A  lanternium,  a  high  tur- 
ret full  of  windows. 

Lanthorn,  of  the  man  in  the  moon,  the,  Midsummer-Night's 
Dream,  Hi.  1;  v.  1;  in  the  nose,  I.  Henry  IV.,  Hi.  3;  II.  Henry 
IV.,  i.  2. 


INDEX  TO  SHAKSPERE'S  WORKS.  193 

Lapland,  sorcerers  of,  Comedy  of  Errors^  iv.  3.  That  country 
was  thought  to  be  a  favourite  home  of  witches. 

Lapwing,  the,  Measure  for  Pleasure,  i.  5 ;  Comedy  of  Errors, 
iv.  2.  Alluding  to  the  habit  of  the  bird  of  crying  far  away  from  her 
nest  to  divert  pursuers,  and  used  figuratively  in  reference  to  those 
who  pretend  interest  in  some  certain  place  in  order  to  divert  atten- 
tion from  their  real  object.  In  Hamlet,  v.  2,  is  an  allusion  to  the 
notion  that  the  young  bird  runs  out  of  the  shell  in  such  haste  that 
it  carries  part  of  it  on  its  head ;  runs  close  by  the  ground,  31uch  Ado 
about  Nothing,  Hi.  1. 

Lard,  to,  the  lean  earth,  1.  Henry  IV.,  ii.  2. 

Lark,  the,  dared  like,  see  Fowling  ;  changed  eyes  with  the  toad, 
Romeo  and  Juliet,  Hi.  5 ;  the  ploughman's  clock,  Love's  Labours 
Lost,  V.  2,  song ;  the  shrill-gorged.  King  Lear,  iv.  6 ;  at  heaven's 
gate,  Cymbeline,  ii.  3;  Venus  and  Adonis,  I.  853;  Sonnet  xxix.; 
Passionate  Pilgrim,  xv  ;  when  not  attended,  Merchant  of  Venice,  v. 
1 ;  its  song,  Romeo  and  Juliet,  Hi.  5. 

Larron  (thief),  3Ierry  Wives  of  Windsor,  i.  4. 

Lartius,  Titus,  character  in  Coriolanus,  first  appears  in  i.  1, 
He  is  one  of  the  generals,  an  old  man,  who  will  "  lean  upon  one 
crutch  and  fight  with  t'other." 

Latch  (catch),  Macbeth,  iv.  3. 

Late,  too,  Jleasure  for  Measure,  ii.  2 ;  AlVs  Well  that  Ends 
Well,  v.  3 ;  Much  Ado  about  Nothing,  v.  1 ;  A  Winter's  Tale,  Hi.  2. 

Late  hours,  Twelfth  Night,  i.  3  ;  I.  Henry  I V.  ii.  4. 

Lath,  a  dagger  of,  L  Henry  I V.,  ii.  4  ;  Titus  Andronicus,  ii.  L 

Latin,  no,  Henry  VIIL,  Hi.  1 ;  in  conversation.  Love's  Labour's 
Lost,  iv.  2 ;  v.  1,  2 ;  IL  Henry  VI.,  iv.  2 ;  lessons  in,  Merry  Wives 
of  Windsor,  iv.  1 ;  Taming  of  the  Shrew,  Hi.  1. 

Latten  (a  kind  of  pewter).  Merry  Wives  of  Windsor,  i.  1. 

Laughter,  connected  with  the  spleen,  Love's  Labour's  Lost,  v. 
2  ;  that  idiot.  King  John,  Hi.  3  ;  of  those  that  win,  Othello,  iv.  1 ;  ex- 
cessive. Love's  Labour's  Lost,  v.  2 ;  Midsummer-NighV s  Dream,  v. 
1;  II.  Henry  IV.  v.  1;  Cymbeline,  i.  7 ;  fortune  laughed  away,  An- 
tony and  Cleopatra,  ii.  6. 

Launce,  servant  of  Proteus  in  the  Two  Gentlemen  of  Verona, 
a  great  punster,  first  appears  in  ii.  3 ;  addresses  his  dog  Crab,  ii.  3; 
iv.  4. 

Launcelot  Gobbo,  the  clown,  Shylock's  servant  in  the  Merchant 
of  Venice,  introduced  in  ii.  2.     See  Jessica. 

Laura,  Petrarch's,  Romeo  and  Juliet,  ii.  4. 


194  I^UEX  TO  SHAKSPERE'S  WORKS, 

Laurence,  a  Franciscan  friar  in  Romeo  and  Juliet^  introduced 
in  a.  3.  He  marries  the  lovers,  li.  6,  and  gives  Juliet  the  potion, 
iv.  1. 

"  The  reverend  character  of  the  friar,  like  all  Shakspere's  repre- 
sentations of  the  great  professions,  is  very  delightful  and  tranquil- 
lizing, yet  it  is  no  digression,  but  immediately  necessary  to  the  carry- 
ing on  of  the  plot."— Coleridge. 

Laus  Deo,  bone  intelligo  (Praise  to  God,  I  understand  well), 
Loft's  Labour^s  Lost,  v.  1. 

Lavinia,  character  in  Titus  Andi'onicus,  daughter  of  Titus,  first 
appears  in  *.  1  or  2.  She  is  claimed  by  the  emperor  and  his  brother 
Bassianus.  Titus  favours  the  emperor's  claim,  but  his  sons  that  of 
Bassianus,  to  whom  she  was  first  promised,  and  she  becomes  his 
wife ;  plot  of  the  Goths  against  her.  ii.  1 ;  dishonoured  and  muti- 
lated, a.  3-5  ;  pitied  by  Marcus,  ii.  ^  or  5 ;  writes  the  names  of  the 
Goths,  iv.  1;  avenged,  v.  2  ;  killed  by  her  father,  v.  3. 

Lavolta,  an  Italian  dance,  He7iry  F.,  Hi.  5 ;  Troilus  aiid  Cres- 
sida,  iv.  4.. 

Iiaw(s),  revival  of  old,  Measure  for  Measure,  i.  3-5  ;  unenforced. 
Measure  for  Measure,  ii.  1,  2 ;  not  dead  but  sleeping,  Measure  for 
Measure,  ii.  2  ;  bitten  by  the  enforcer.  Measure  for  Measure,  Hi.  1 ; 
a  wise  fellow  that  knows  the,  Much  Ado  about  Nothing,  iv.  2 ; 
tainted  and  corrupt  pleas  in.  Merchant  of  Venice,  Hi.  2 ;  as  adver- 
saries do  in.  Taming  of  the  Shrew,  i.  2  ;  on  the  windy  side  of  the, 
Twelfth  Night,  Hi.  4  ;  reliability  of  witnesses  in,  A  Winter's  Tale,  iv. 
3 ;  when  it  can  do  no  right.  King  John,  Hi.  1;  called  old  father 
antic,  L  Henry  I V.,  i.  2  ;  framed  to  the  will — sharp  quillets  of  the, 
L  Henry  VI.,  ii.  4  ;  as  administered  by  the  tribunes,  Coriolanus,  ii. 
1 ;  pity  is  the  virtue  of  the,  Timon  of  Athens,  Hi.  5 ;  in  hot  blood, 
hath  stept  into  the,  Timon  of  Athens,  Hi.  5 ;  one  who  goes  to,  called 
an  action-taking  knave.  King  Lear,  H.  2 ;  the  bloody  book  of  the, 
Othello,  i.  3 ;  the  brain  may  devise  laws  for  the  blood.  Merchant  of 
Venice,  i.  2  ;  no  power  to  alter  those  of  Venice,  Merchant  of  Venice^ 
iv.  i ;  a  poor  man's  right  in  the,  Pericles,  ii.  1 ;  broken  by  those 
that  enforce  them,  Lear  iv.  6,  "  The  usurer  hangs  the  cozener." 

I^aw,  allusions  to,  and  terms  of  the :  cheater  (escheater),  Merry 
Wives  of  Wi7idsor,  i.  3 ;  lost  my  edifice  by  mistaking  the  place. 
Merry  Wives  of  Windsor,  ii.  2  ;  a  star-chamber  matter,  Jlerry  Wives 
of  Windsor,  i.  1 ;  fee  simple — fine  and  recovery.  Merry  Wives  of 
Wi7idsor,  iv.  2  ;  Comedy  of  Errors,  ii.  2  ;  arrested  in  the  case,  Com- 
edy of  Errors,  iv.  2 ;  wards  of  the  king,  given  by  him  in  marriage. 


INDEX  TO  SHAKSPERE'S  WORKS.  195 

Comedy  of  Errors,  v.  1;  All's  Well  that  Ends  Well,  i.  1;  recorded 
for  a  precedent— formerly  (above),  Merchant  of  Venice,  iv.  1;  charge 
upon  interrogatories— answer  faithfully,  Merchant  of  Venice,  v.,  end; 
taken  with  the  manner,  Love's  Labour's  Lost,  i.  1 ;  L  Henry  IV.,  ii. 
4;  make  an  extent  (attachment),  As  You  Like  It,  Hi.  1;  videlicet, 
As  You  Like  It,  iv.  1;  present  her  at  the  Leet,  Taming  of  the 
Shrew,  induction,  2  ;  specialties— covenants,  Taming  of  the  Shrew, 
ii.  1;  pass  assurance.  Taming  of  the  Shrew,  iv.  3;  fee-simple— en- 
tail—perpetual  succession,  AlVs  Well  thai  Ends  Well,  iv.  3;  except 
before  excepted,  Twelfth  Night,  i.  3;  common— several.  Twelfth 
Night,  ii.  1;  grand-jurymen,  Twelfth  Night,  Hi.  2;  an  action  of 
battery.  Twelfth  Night,  iv.  1;  fees  of  acquitted  prisoners  to  the 
jailer,  A  Winter's  Tale,  i.  2 ;  IIL  Henry  VI.,  iv.  6  ;  indictment.  A 
Winter's  Tale,  Hi.  2;  II.  Henry  VL,  iv.  7;  hand-fast  (out  on  bail), 
A  Winter's  Tale,  iv.  3 ;  to  sue  out  livery,  Richard  II..  ti.  1,  3 ;  I. 
Henry  IV.,  iv.  3;  enfeoffed  (disposed  of  absolutely),  /.  Henry  IV., 
Hi.  2;  advised  by  my  counsel— to  lay  by  the  heels  (send  to  prison), 
II.  Henry  IV.,  i.  2;  Henry  VIII.,  v.  3;  absque  hoc,  II.  Henry  IV., 
V.  5;  attainder,  /.  Henry  VL,  ii.  4;  writ  of  praemunire,  Henry 
VIIL,  Hi.  2  ;  in  fee-farm— in  witness  whereof,  Troilus  and  Cressida, 
%ii.2;  amerce,  Romeo  and  Juliet,  Hi.  1;  utter  (to  pass  or  sell  at 
retail),  Romeo  and  Juliet,  v.  1;  affeered  (confirmed),  Macbeth,  iv.  3  ; 
countenance,  Hamlet,  iv.  2;  the  clown's  argument,  and  Hamlet's 
speech  on  the  skull,  Hamlet,  v.  1 ;  capable  (of  inheriting),  King  Lear, 
ti.  1 ;  comforting,  King  Lear,  Hi.  5 ;  witness  suborned,  Othello,  Hi. 
4 ;  purchased  (obtained  otherwise  than  by  inheriting),  Antony  and 
Cleopatra,  i.  4 ;  pray  in  aid  (asking  help  from  another  person  inter- 
ested in  the  claim),  Antony  and  Cleopatra,  v.  2;  oversee  this  will, 
Lucrece,  I.  1205;  overseers  as  well  as  executors  were  sometimes  ap- 
pointed ;  sessions— summon,  Sonnet  xxx. ;  defendant,  Sonnet  xlvi. ; 
determinate  (ended),  Sonnet  Ixxxvii. 

Lawn  as  white  as  driven  snow,  song,  A  Winter's  Tale,  iv.  4. 

Lawyer(s),  the  melancholy  of  the.  As  You  Like  It,  iv.  1 ;  let's 

kill  all  the,  IL  Henry  VL,  iv.  2;  crack  the  voice  of  the,  Timon  of 

Athens,  iv.  3;  dreams  of,  Romeo  and  Juliet,  i.4;  skull  of  a,  Hamlet, 

V.  1 ;  an  unfeed,  King  Lear,  i.  4. 

Lay  by,  /.  Henry  IV.,  i.  2.    Supposed  to  be  the  highwayman's 
summons,  equivalent  to  "  Stand  and  deliver." 
Lay  on,  Macduff,  Macbeth,  v.  7. 

Lazarus,  in  the  painted  cloth  (tapestry),  /.  Henry  IV.,  iv.  2. 
Lead,  slow.  Love's  Labour's  Lost,  lii.  1 ;  prayer  to  have  it  kept 


196  INDEX  TO  SHAKSPERE'S  WORKS. 

out,  /.  Ihnvij  IV.,  V.  3 ;  heavy,  //.  Henry  IV.,  i.  1;  Richard  III., 
V.  3  ;  Con'olanus,  i.  1 ;  Romeo  and  Juliet,  i.  1. 

Leaf,  the  sear,  the  yellow,  Macbeth,  v.  3. 

Leaguer  (camp),  AWs  Well  that  Ends  Well,  Hi.  6. 

Leah,  Shylock's  wife,  Merchant  of  Venice, 4ii.  1. 

Leander,  Two  Gentlemen  of  Verona,  i.  1 ;  Hi.  1 ;  As  You  Like 
It,  iv.  1 ;  Much  Ado  about  Nothing,  v.  2.  He  was  drowned  swim- 
ming the  Hellespont  to  Hero's  tower  at  Sestos.  When  she  became 
aware  of  it,  Hero  cast  herself  from  her  tower,  and  perished  in  the 
sea.  The  celebrated  poem  on  the  subject,  written  by  Mus^us,  a 
Greek  author  of  the  sixth  century,  was  discovered  in  the  thirteenth. 

Leanness,  of  Pinch,  Comedy  of  Errors,  v.  1,  "  My  liege,  I  am 
advised,"  etc. ;  of  Robert  Faulconbridge,  King  John,  i.  1 ;  Falstaff's, 
/.  Henry  IV.,  Hi.  3  ;  dangerous — of  Cassius,  Julius  Ccesar,  i.  2. 

Leap-frog,  allusion  to  the  game  of,  Henry  V.,  v.  2. 

Lear,  King  of  Britain,  according  to  Geoffrey  of  Monmouth,  about 
800  years  before  Christ.  In  King  Lear,  i.  1,  he  divides  his  kingdom 
according  to  the  professions  of  love  to  him  made  by  his  daughters. 
Of  his  character,  as  revealed  in  this  scene,  Coleridge  says : 

"  The  strange,  yet  by  no  means  unnatural,  mixture  of  selfishness, 
sensibility,  and  habit  of  feeling  derived  from  and  fostered  by  the 
particular  rank  and  usages  of  the  individual ;  the  intense  desire  of 
being  intensely  beloved — selfish,  and  yet  characteristic  of  the  selfish- 
ness of  a  loving  and  kindly  nature  alone ;  the  self-supportless  lean- 
ing for  all  pleasure  on  another's  breast ;  the  craving  after  sympathy 
with  a  prodigal  disinterestedness,  frustrated  by  its  own  ostentation 
and  the  mode  and  nature  of  its  claims ;  the  anxiety,  the  distrust, 
the  jealousy  which  more  or  less  accompany  all  selfish  affections,  and 
are  among' the  surest  contradistinctions  of  mere  fondness  from  true 
love,  and  which  originate  Lear's  eager  wish  to  enjoy  his  daughters' 
violent  professions,  while  the  inveterate  habits  of  sovereignty  con- 
vert the  wish  into  claim  and  positive  right,  and  an  incompliance 
with  it  into  crime  and  treason — these  facts,  these  passions,  these  moral 
verities,  on  which  the  whole  tragedy  is  founded,  are  all  prepared  for, 
and  will  to  the  retrospect  be  found  implied  in  the  first  four  or  five 
lines  in  the  play.  They  let  us  know  that  the  trial  is  but  a  trick ;  and 
that  the  grossness  of  the  old  king's  rage  is  in  part  the  natural  result 
of  a  silly  trick  suddenly  and  most  unexpectedly  baffled  and  disap- 
pointed." 

Lear  disowns  Cordelia,  i.  1 ;  is  criticised  by  the  other  daughters 
at  the  end  of  the  same  scene ;  leaves  Goneril's  house  in  a  passion,  i. 
^ ;  leaves  Regan's,  ii.  4 ;  on  the  heath,  Hi.  2,  4,  6 ;  his  madness,  iv 
6;  V.3;  his  death,  v.  3. 

Learning,  in  a  woman's  eye,  Love's  Labour's  Lost,  iv.  3 ;  plod- 


INDEX  TO  SHAKSPERE'S   WORKS.  197 

ding  for,  Love's  Labour's  Lost,  i.  1 ;  ii\  S  ;  late  deceased  in  beggary, 
Midsummer-Nigh  fs  Bream,  v.  L  Supposed  to  refer  to  the  deatli  of 
the  dramatist  Robert  Greene  in  poverty  in  1592  ;  though  Dowden 
thinks  it  more  likely  to  refer  to  Spenser's  "  The  Tears  of  the  Muses ; " 
what  a  thing  it  is,  Taming  of  the  Shrew,  i.  2 ;  under  ban,  //.  Hen- 
ry VI.,  iv.  2;  in  comparison  with  blood,  Henry  VIIL,  i.  1,  "A  beg- 
gar's book,"  etc. ;  what,  is,  Romeo  and  Juliet,  Hi.  3 ;  a.  mere  hoard 
of  gold  till  sack  sets  it  in  use,  IL  Henry  IV.,  iv.  3 ;  of  the  king, 
Henry  V.,  i.  1 ;  little  will  die  the  day  thou  art  hanged,  Timon  of 
Athens,  ii.  2. 

Leasing  (lying).  Twelfth  Night,  i.  5  ;  Coriolanus,  v.  2. 

Leather-coats  (russet  apples),  IL  Henry  IV.,  v.  3. 

Leave-taking,  Hamlet,  i.  3;  "nothing  I  would  so  willingly 
part  withal,"  Hamlet,  ii.  2 ;  the  last,  Richard  IL,  v.  1;  of  youth, 
III.  Henry  VI.,  Hi.  2.     See  Parting. 

Le  Beau,  a  courtier  attending  the  usurping  duke  in  As  You  Like 
It,  introduced  in  i.  2. 

Le  Bon,  Monsieur,  one  of  the  suitors  of  Portia  mentioned  in  the 
Merchant  of  Venice,  i.  2. 

Leda,  Merry  Wives  of  Wi7idsor,  v.  5  ;  the  daughter  of  (Helen), 
Taming  of  the  Shrew,  i.  2. 

Leek,  wearing  the,  Henry  V.,  iv.  1,  7 ;  v.  L  A  leek  is  worn  by 
Welshmen  on  St.  David's  Day,  March  1,  because,  it  is  said,  St.  David 
ordered  his  soldiers  to  wear  it  in  battle  to  distinguish  them  from 
their  enemies. 

Leer  (face,  look),  As  You  Like  It,  iv.  1. 

Leet  (a  petty  criminal  court),  Taming  of  the  Shrew,  induction, 
1 ;  Othello,  Hi.  3. 

Leg  (cant  for  obeisance),  make  a,  AlVs  Well  that  Ends  Well,  ii. 
2  ;  /.  Henry  IV.,  ii.  4. 

Legion,  possessed  him.  Twelfth  Night,  Hi.  4-  Meaning  the 
legion  of  devils. 

Legitimacy,  King  John,  i.  1 ;  ii.  1 ;  King  Lear,  i.  2. 

Leicester,  Henry  VIII.,  iv.  2. 

Leicester,  Earl  of.    See  Maidenhood. 

Lendings  (clothes).  King  Lear,  Hi.  4. 

Lenity,  in  war,  Henry  V.,  Hi.  6  ;  makes  robbers  bold.  III.  Hen- 
ry VI.,  ii.  2,  6  ;  away  to  heaven,  respective,  Romeo  and  Juliet,  Hi.  L 

Lenox,  a  thane  of  Scotland,  and  character  in  Macbeth,  intro- 
duced in  i.  2.  In  Hi.  6,  he  expresses  his  suspicions  of  Macbeth.  He 
is  keen,  but  dissembling  and  cowardly. 


198  INDEX  TO  SHAKSPERE'S  WORKS. 

Lent,  a  joint  of  mutton  or  two  in  a  whole,  //.  Henry  IV.,  ii.  4,; 
shall  be  as  long  again,  //.  Henry  VI.,  iv.  3.  Butchers  were  forbid- 
den to  sell  meat  in  Lent ;  but  some  few  were  excepted  from  the  gen- 
eral rule  by  special  favour,  and  it  is  this  license  that  is  referred  to.  A 
hare  for  a  pie  in,  Romeo  and  Juliet,  ii.  4. 

Lenten  answer  (dry  or  short  answer).  Twelfth  Night,  i.  5. 

Lenten  entertainment,  Hamlei,  ii.  2. 

Leonardo,  the  servant  of  Bassanio  in  the  Merchant  of  Venice^ 
appears  in  ii.  2. 

Leonato,  governor  of  Messina,  father  of  Hero  in  Much  Ado 
about  Nothing,  is  introduced  in  the  first  scene.  He  is  merry,  light- 
hearted,  and  indulgent,  but  weakly  credulous  of  the  slander  against 
his  daughter. 

Leonine,  servant  of  Dionyza  in  Pericles,  first  appears  in  iv.  1,  as 
the  intended  murderer  of  Marina. 

Leontes,  King  of  Sicilia,  character  in  A  Winter's  Tale,  intro- 
duced in  the  second  scene.  His  jealousy  is  the  prime  cause  of  the 
action  throughout  the  plot.  Both  Coleridge  and  Gervinus  have,  in 
somewhat  different  ways,  drawn  contrasts  between  his  jealousy  and 
that  of  the  nobler  Othello.  His  disposition  is  passionate,  obstinate, 
and  tyrannical,  his  imagination  gross,  and  his  judgment  weak. 

Leopards,  lions  make,  tame,  Richard  II.,  i.  1.  The  crest  of 
Norfolk  was  a  golden  leopard. 

Lepidus,  M.  ^milius,  one  of  the  triumvirs  after  Caesar's  death, 
character  in  Julius  Ccesar,  introduced  in  Hi.  1 ;  Antony's  opinion 
of,  iv.  1.  Also  a  character  in  Antony  and  Cleopatra,  introduced  in 
i.  4.  Enobarbus  travesties  his  praise  of  Cassar  and  Antony.  In  Hi. 
5,  he  is  seized  by  Cassar's  order. 

Lestrale,  mentioned,  Henry  V.,  Hi.  5 ;  iv.  8. 

Let  (stay,  stop).  Comedy  of  Errors,  ii.  1,  and  elsewhere. 

Lethe,  Richard  III.,  iv.  4. ;  Julius  Ccesar,  Hi.  1 ;  Antony  and 
Cleopatra,  ii.  7 ;  Hamlet,  i.  5  ;  Twelfth  Night,  iv.  1;  II.  Henry  IV., 
V.  2.  In  mythology,  a  river  of  the  lower  world.  The  shades  of  the 
dead  drank  of  it  and  forgot  the  sorrows  of  life. 

Let  me  confess  that  we  two  must  be  twain.  Sonnet  xxxvi. 

Let  me  not  to  the  marriage  of  true  minds.  Sonnet  cxvi. 

Let  not  my  love  be  called  idolatry,  Sonnet  cv. 

Letter,  affect  the  (use  alliteration),  Love's  Labour's  Lost,  iv.  2. 

Letter(s),  of  love,  see  Love-Letters  ;  allusions  to  the  custom  of 
addressing  letters  to  "  the  bosom  "  of  a  lady,  Two  Gentlemen  of  Ve- 
rona, til.  1:  Hamlet,  ii.  2;  Armado's,  Love's  Labour's  Lost,  i.  1; 


INDEX  TO  SHAKSPERE'S   WORKS.  I99 

old  ends  of,  JIuch  Ado  about  Nothing,  i.  1 ;  unpleasant,  Jlerchnnt 
of  Venice,  in.  2 ;  allusion  to  the  custom  of  writing  Emmanuel  at 
the  head  of,  II.  Henry  VI.,  iv.  2 ;  appetite  after  reading,  Henry 
VIII.,  iii.  2 ;  forged,  King  Lear,  i.  2 ;  of  Goneril,  King  Lear,  iv. 
6 ;  a,  Lucrece,  I.  1296  ;  destroyed,  Lover's  Complaint,  I.  43  ;  patents, 
Richard  IL,  ii.  1 ;  effect  of  a,  Henry  V,  ii.  2. 

Let  those  who  are  in  favor  with  their  stars,  Sonnet  xxv. 

Leviathan,  Midsummer-NigM s  Dream,  ii.  2  ;  Henry  V.,  iii.  3. 

Liar(s),  believe  themselves  at  length,  The  Tempest,  i.  2,  "  Like 
one  who  having  unto  truth,"  etc. ;  an  accomplished.  Love's  Labour's 
Lost,  i.  1 ;  an  infinite  and  endless.  All's  Well  that  Ends  Wall,  iii.  6  ; 
God  and  good  men  hate,  Richard  IL,  i.  1 ;  one  that  lies  three-thirds, 
All's  Well  that  Ends  Well,  ii.  5;  one  that  would  make  you  think 
truth  a  fool.  All's  Well  that  Ends  Well,  iv.  3 ;  old  men  apt  to  be, 
//.  Henry  IV.,  iii.  4;  go  to  hell,  Othello,  v.  2. 

Liberality,  in  offers,  Merchant  of  Venice,  iv.  1 ;  prodigal,  Timon 
of  Athens,  i.  1,  2  ;  ii.  1,  2. 

Liberty,  headstrong.  Comedy  of  Errors,  ii.  1 ;  too  much,  Meas- 
ure for  Pleasure,  i.  3,  4 ;  of  fools,  As  You  Like  It,  ii.  7 ;  enough, 
Ki7ig  John,  iv.  1;  blessing  of,  Cymbeline,  i.  7;  fighting  for,  //. 
Henry  VL,  iv.  2. 

Library,  Titus  And.,  iv.  1 ;  Prospero's,  The  Tempest,  i.  2  ;  iii.  2. 

Lichas,  31er chant  of  Venice,  ii.  1 ;  Antony  and  Cleopatra,  iv. 
10  or  12.  The  attendant  that  brought  the  poisoned  shirt  to  Her- 
cules from  Dejanira. 

Licio,  name  assumed  by  Hortensio  in  Taming  of  the  Shrew,  ii.  L 

Liefest  (dearest),  //.  Henry  VL,  iii.  1. 

Lieger  (citizen),  an  everlasting.  Measure  for  Measure,  iii.  1. 

Lie(s),  repeated,  The  Tempest,  i.  2 ;  invention  of,  All's  Well  that 
Ends  Well,  iv.  1 ;  charges  of,  Richard  IL,  i.  1 ;  iv.  1 ;  Falstaff's  an- 
ticipated, L  Henry  IV.,  i.  2 ;  gross,  I.  Henry  IV.,  ii.  4',  for  a  friend, 
Coriolanus,  v.  2  ;  an  odious,  damned,  Othello,  v.  2  ;  by  the  poor,  Cym- 
beline, Hi.  6  ;  of  lovers.  Sonnet  cxxxviii.  ;  only  become  tradesmen,  A 
Winter's  Tale,  iv.  3  ;  women  should  not  tell,  Anto7iy  and  Cleopatra, 
V.  2;  every  third  word  a,  //.  Henry  IV.,  iii.  2;  circumstantial, 
direct,  etc.,  see  Duelling. 

Lieutenant,  to  Aufidius,  character  in  Coriolanus,  iv.  7. 

Lieutenant  of  the  Tower,  III  Henry  VL,  iv.  G.  Supposed 
to  have  been  John  Tibetoft,  first  Earl  of  Worcester. 

Lieutenantry,  dealt  on,  Antony  and  Cleopatra,  Hi.  9  or  11. 
Allowed  his  lieutenants  to  do  the  fighting. 


200  INDEX  TO  SHAKSPERE'S  WORKS. 

Life,  rounded  with  a  sleep,  The  Tempest,  iv.  i ;  a  shuttle,  Merry 
Wives  of  Windsor,  v.  1 ;  brevity  and  worthlessness  of,  Measure  for 
Measure,  Hi.  1 ;  death's  fool,  Measure  for  Measure,  Hi.  1 ;  allusion 
to  death  and  his  fool  in  an  old  play;  any,  better  than  death— com- 
pared with  honour,  Measure  for  Measure,  Hi.  1 ;  past  fear  of  death, 
Measure  for  Measure,  v.  1 ;  the  idea  of  a,  in  imagination.  Much  Ado 
about  Nothing,  iv.  1 ;  taken  when  the  means  are  taken.  Merchant  of 
Venice,  iv.  1 ;  brevity  of,  As  You  Like  It,  ii.  7  ;  Hi.  2,  song ;  web 
of  a  mingled  yarn,  AlVs  Well  that  Ends  Well,  iv.  3  ;  to  come,  A  Win- 
ter's Tale,  iv.  S ;  a,  twice-told  tale,  Ki7ig  John,  Hi.  4;  the  bloody 
house  of.  King  John,  iv.  2  ;  not  to  be  lengthened,  Richard  II.,  i.  3  ; 
shortness  of,  /.  Henry  IV.,  v.  2,  Hotspur's  speech ;  better  than  hon- 
our, I.  Henry  IV.,  v.  3 ;  less  than  honour,  /.  Henry  IV.,  v.  4;  time's 
fool,  /.  Henry  I V.,  v.  4 ;  thought  the  slave  of,  I.  Henry  IV.,  v.  4  ; 
set  upon  a  cast,  Richard  III,  v.  4;  its  wine  drawn,  Macbeth,  ii.  3  ; 
its  fitful  'fever,  3Iacbeth,  Hi.  2  ;  its  brevity — a  tale  told  by  an  idiot — 
a  poor  player,  Macbeth,  v.  5 ;  &  charmed,  Macbeth,  v.  7 ;  cheapness 
of  man's,  King  Lear,  ii.  4  ;  yields  to  age,  Ki7ig  Lear,  iv.  1 ;  treasury 
of,  King  Lear,  iv.  6  ;  why  should  a  dog  have,  Ki7ig  Lear,  v.  3  ;  the 
light  of,  Othello,  v.  2 ;  nobleness  of,  Antony  and  Cleopatra,  i.  1; 
bears  the  stamp  of  the  gods,  Cymbeline,  v.  4  >'  shortness  of.  Sonnet 
Ix. ;  autumn  and  twilight  of.  Sonnet  Ixxiii. ;  man's,  is  tedious,  Cym- 
beline, Hi.  6 ;  love  of  long,  Antony  and  Cleopatra,  i.  2 ;  brevity  of 
its  greatness,  Henry  VIII.,  prologue  ;  when  it  is  a  torment,  Othello 
i.  3  ;  its  glory  like  madness,  Timon  of  Athens,  i.  2. 

Ligarius,  a  conspirator  in  Julius  Ccesar,  first  appears  in  ii.  1. 

Light,  sought  in  books.  Love's  Labour's  Lost,  i.  1.     See  Study. 

Lightly  (usually),  Richard  III,  Hi.  L 

Lightning,  its  swiftness,  Midsummer-Night's  Dream,  i.  1 ; 
Richard  II.,  i.  3  ;  King  Lear,iv.  7 ;  Romeo  and  Juliet,  ii.2  ;  before 
death,  a,  Romeo  and  Jidiet,  v.  3. 

Light  o'  Love,  a  dance-tune.  Two  Gentlemen  of  Verona,  i.  2; 
Much  Ado  about  Nothing,  Hi.  4. 

Like  as  the  waves,  Sonnet  Ix. 

Like  as,  to  make  our  appetites  more  keen.  Sonnet  cxviii. 

Lilly  (or  Lyly),  John  (about  1553-1600),  quotations  and  allusions 
to  his  Latin  Grammar,  Twelfth  Night,  ii.  3. 

Lily  (ies),  A  Winter's  Tale,  iv.  3  oy  4;  Somiet  xcix. ;  festering, 
SoJinet  xciv. ;  to  paint  the,  King  John,  iv.  2 ;  perish  like  the,  Henry 
VIIL,  Hi.  1. 

Limander  (Leander  ?),  Midsummer-Night 's  Dream,  v.  1. 


INDEX   TO  SHAKSPERE'S  WORKS.  201 

Limbo  Patrum,  place  where  the  souls  of  the  patriarchs  re- 
mained till  the  descent  of  Christ,  Henry  VIII.,  v.  4. 

Limbo,  Tartar,  Comedy  of  Errors,  iv.  2. 

Lim.e,  in  sack  (to  make  it  sparkle).  Merry  Wives  of  Windsor,  i. 
3 ;  I.  Henry  IV.,  ii.  4. 

Lim.ed  (caught  as  with  bird-lime).  Twelfth  Night,  Hi.  4. 

Limehouse,  limbs  of  (in  some  editions  Limbo),  Henry  VIII.,  v. 
4.  Limehouse  was  near  Tower  Hill,  and  the  tribulation  of  Tower 
Hill  and  the  limbs  of  Limehouse  may  refer,  to  the  roughs  that  in- 
fested the  neighborhood. 

Limits,  everything  has.  Comedy  of  Errors,  ii.  1. 

Lincoln,  John  Laugland,  Bishop  of,  character  in  Henry  VIII., 
introduced  in  ii.  4.  He  is  said  to  have  made  the  first  suggestion  of 
the  divorce.  There  is  a  chapel  in  Lincoln  Cathedral  planned  by  him, 
and  named  for  him,  Langland  Chapel. 

Line,  the  equinoctial.  The  Tempest,  iv.  1.  Quibbling  allusion 
to  the  supposed  fact  that  the  heat  there  caused  loss  of  hair. 

Line  (strengthen),  I.  Henry  IV.,  ii.  3. 

Lineage,  evidence  of  good,  Cymheline,  iv.  2,  "  0  thou  goddess," 
etc. ;  /.  Henry  IV.,  i.  2.    See  Blood  and  Rank. 

Linen,  Poins's,  II.  Henry  IV.,  ii.  2. 

Linguist,  a.  Sir  Andrew,  Twelfth  Night,  i.  3 ;  iv.  1 ;  AlVs  Well 
that  Ends  Well,  iv.  3. 

Link  (torch),  hats  blackened  with  a,  Taming  of  the  Shrew,  iv.  1. 

Lion(s),  royal  disposition  of  the.  As  You  Like  It,  iv.  3 ;  in  Ar- 
den,  As  You  Like  It,  iv.  3  ;  better  to  fall  before  the,  than  the  wolf. 
Twelfth  Night,  Hi.  1 ;  the  dying,  Richard  IL,  v.  1 ;  will  not  touch 
a  true  prince.  I.  Henry  IV.,  ii.  4/  tbe  man  that  sold  the  skin  of  a, 
He7iry  V.,  iv.  3;  allusions, to  the  story  that  Richard  L  tore  out  the 
heart  of  one  sent  to  devour  him.  King  John,  i.  1 ;  ii.  1. 

Lion,  a  character  in  the  interlude  in  Midsummer-NigM s  Dream, 
V.  1,  taken  by  Snug  the  joiner. 

Lion-skin,  doff  the,  Ki7ig  John,  Hi.  1. 

Lips,  pretty,  Midsummer-Nigh fs  Dream,  Hi.  2;  Measure  for 
Measure,  iv.  1 ;  Richard  III.,  iv.  3  ;  coward,  Julius  Ccesar,  i.  2. 

Lipsbury  Pinfold,  King  Lear,  ii.  2.     Of  unknown  meaning. 

Liquors,  hot  and  rebellious.  As  You  Like  It,  ii.  3.  See  Drunk- 
enness. 

List  (limit,  edge  of  cloth).  Measure  for  Measure,  i.  1,  2  ;  Twelfth 
Night,  Hi.  1 ;  Hamlet,  iv.  5  or  2. 

Liver,  the,  seat  of  love,  Merry  Wives  of  Windsor,  ii,  1 ;  Much 


202  INDEX  TO  SHAKSPERE'S  WORKS, 

Ado  about  Notliing,  iv.  1;  Twelfth  Night,  i.  1;  ii.  4;  Love's  La- 
hour's  Lost,  iv.  3 ;  As  You  Like  It,  Hi.  2 ;  white,  3Ierchant  of  Ven- 
ice, Hi.  2  ;  Twelfth  Night,  Hi.  2. 

Livery,  sue  his,  /.  Henry  IV.,  iv.  3 ;  Richard  II.,  ii.  1,  3.  Sue 
delivery  of  his  lands,  as  an  heir  who  was  of  age  sued  for  custody  of 
his  own  property. 

Living,  Falstaif 's  plan  to  get  a,  Merry  Wives  of  Windsor,  i.  3. 

Lizard,  sting  of  the,  //.  Henry  VL,  Hi.  2 ;  III.  Henry  VI.,  ii, 
2 ;  leg  of,  Macbeth,  iv.  L 

Loaii(s),  to  an  enemy — without  interest,  Ilerchant  of  Venice,  i. 
S  ;  a,  oft  loses  both  itself  and  friend,  Hamlet,  i.  3, 

Lo  !  as  a  careful  housewife.  Sonnet  cxliii. 

Lo  !  in  the  orient.  Sonnet  vii. 

Lob  (lubber),  Midsummer- NigMs  Dream,  ii.  1. 

Lock  (love-lock).  Much  Ado  about  Nothing,  Hi.  3 ;  v.  1. 

Lodovico,  a  kinsman  of  Othello's  father-in-law,  introduced  in 
iv.  1  of  the  play. 

Lodowick,  Friar,  name  assumed  by  the  duke  in  Measure  for 
Measure,  v.  L 

Loggats,  Hamlet,  v.  L  A  game  played  with-  loggats  or  pieces 
of  wood,  which  are  thrown  at  a  jack.  It  is  somewhat  like  bowls  or 
skittles. 

Logic,  of  the  schools,  travesty  on.  Twelfth  Night,  iv.  2,  "  What 
is  that  but  that  ?  " 

Lombardy,  garden  of  Italy,  Tamiiig  of  the  Shrew,  i.  1. 

London,  scene  of  parts  of  the  historical  plays.  See  Lud's 
Town. 

London  Bridge,  order  for  the  burning  of,  II.  Henry  VI.,  iv.  6. 
In  Shakspere's  day  there  was  but  the  one  bridge  over  the  Thames  at 
London, 

London-stone,  II.  Henry  VI.,  iv.  6.  A  stone  supposed  to  have 
been  set  up  in  the  time  of  the  Romans,  and  now  built  into  the  wall 
of  St.  Swithin's  Church.     Distances  were  measured  from  it. 

Longaville,  one  of  the  lords  attending  on  the  king  in  Love's 
Labour's  Lost,  introduced  in  the  first  scene. 

"  The  only  soil  of  his  fair  virtue's  gloss, 
If  virtue's  gloss  will  stain  with  any  soil, 
Is  a  sharp  wit  matched  with  too  blunt  a  will." 

Longing,  immortal,  Antony  and  Cleopatra,  v.  2. 

Looker-on  in  Vienna,  a,  3Ieasure  for  Measure,  v.  1. 

Looking-glass,   a,  Richard  II.,  iv.  1 ;  to   court  an   amorous, 


INDEX  TO  SHAK;sPERE'S    works.  2U3 

Richard  III.,  i.  1 ;  at  charges  for  a,  Richard  III,  i.  2  ;  to  test  life, 
King  Lear,  v.  3. 

Look  in  thy  glass,  Sonnet  Hi. 

Looks,  a  war  of,  Venus  and  Adonis,  I.  355;  foreboding,  ///. 
Henry  VL,  ii.  1. 

Lop  (branches),  Henry  VIII,  i.  2. 

Lord,  a,  a  character  in  the  Taming  of  the  Shrew.  The  trick 
he  played  upon  Sly  is  said  to  have  been  played  upon  an  artisan  by 
Philip  the  Good,  Duke  of  Burgundy.  An  account  of  it  is  in  "  Ad- 
mirable and  Memorable  Histories,"  by  Goulart,  translated  by  E. 
Grimstone,  1607,  though  it  had  appeared  in  English  in  1570  in  a 
collection  of  stories  by  Richard  Edwards.   It  was  also  in  the  old  play. 

Lord  Chief-Justice  Gascoigne.     See  Gascoigne. 

Lord  have  mercy  upon  us,  Love's  Labour's  Lost,  v.  2.  An 
inscription  on  houses  infected  with  the  plague. 

Lord,  how  mine  eyes,  Passionate  Pilgrim,  xv. 

Lord  Mayor  of  London,  the,  a  character  in  III.  Henry  VI. 

Lord  of  my  love.  Sonnet  xxvi. 

Lord's  Prayer,  the.  Merchant  of  Venice,  iv.  1,  "  And  that  same 
prayer,"  etc. 

Lord's  sake,  for  the,  Measure  for  Pleasure,  iv.  3,  an  allusion  to 
the  practice  of  prisoners  for  debt  begging  from  the  window  of  pass- 
ers-by, "  For  the  Lord's  sake." 

Lorenzo,  the  lover  of  Jessica,  in  the  Merchant  of  Venice,  enters 
in  the  first  scene,  a  thoughtless,  boyish,  romantic  personage. 

Loss,  racks  the  estimation  of  value,  Much  Ado  about  Nothing, 
iv.  1 ;  make  comfort  of,  AlVs  Well  that  Ends  Well,  iv.  3 ;  apprecia- 
tion after,  All's  Well  that  Ends  Well,  v.  3 ;  how  men  should  bear, 
Julius  CcBsar,  iv.  3  ;  at  sea,  Merchant  of  Venice,  iv.  1. 

Lottery,  of  the  caskets,  3Ierchant  of  Venice,  i.  2 ;  ii.  1. 

Louis,  the  Dauphin,  afterward  Louis  VIIL  of  France,  a  charac- 
ter in  King  John,  introduced  in  ii.  L 

Louis,  the  Dauphin  of  France,  character  in  Henry  V.,  first  ap- 
pears in  ii.  4.  He  is  a  rash  and  confident  young  braggart.  In  i.  2^ 
he  sends  tennis-balls  to  Henry  to  intimate  that  Henry  is  more  fit  for 
that  game  than  for  war. 

Louis  X.  of  France,  his  title,  Henry  V.,  i.  2. 

Louis  XI.  of  France,  character  in  III.  Henry  VL,  introduced 
in  Hi.  3 :  Henry's  opinion  of  his  susceptibility,  Hi.  1. 

Louted  (treated  as  a  lout,  mocked),  /.  Henry  VL,  iv.  3.  • 

Louvre,  your  Pans,  Henry  V.,  ii.  4  ;  Henry  VIIL,  i.  3. 


204  INDEX  TO  SHAKSPERE'S  WORKS. 

Love,  The  Tempest,  i.  2  ;  Hi.  1 ;  trials  of.  The  Tempest,  iv.  1 ;  folly 
of,  Two  Gentlemen  of  Verona,  i.  1 ;  marks  of,  Two  Gentlemen  of  Vero- 
na, i.  2 ;  ii.  1 ;  take  up,  Two  Gentlemen  of  Verona,  i.  2 ;  like  April, 
Two  Gentlemen  of  Verona,  i.  3 ;  the  chameleon,  Two  Gentlemen  of 
Verona,  ii.  1 ;  transformation  by.  Two  Gentlemen  of  Verona,  ii.  4; 
fickJeness  in,  Two  Ge?itlemen  of  Vei'ona,  ii.  J^,  6;  Ilidsummer- 
JVighfs  Dream,  i.  1 ;  iv.  4  ;  Troilus  and  Cressida,  v.  2  ;  Romeo  and 
Juliet,  ii.  3 ;  perjury  in,  Two  Gentlemen  of  Verona,  ii.  6;  v.  4; 
against  obstacles,  Two  Gentlemen  of  Verona,  ii.  7 ;  treachery  in, 
Two  Gentlemen  of  Verona,  Hi.  1;  the  way  to  win.  Two  Gentlemen 
of  Verona,  Hi.  1,  2 ;  effect  of  absence  on,  Two  Gentlemen  of  Verona, 
Hi.  2 ;  spurned.  Two  Gentlemen  of  Verona,  iv.  2 ;  the  curse  in.  Two 
Gentlemen  of  Verona,  v.  4 ;  Reason  physician  of,  Herri/  Wives  of 
Windsor,  ii.  1 ;  like  a  shadow  flies.  Merry  Wives  of  Windsor,  ii.  2 ; 
of  another  man's  wife,  Merry  Wives  of  Windsor,  H.  2 ;  omnipotent, 
Merry  Wives  of  Windsor,  v.  5 ;  the  dribbling  dart  of.  Measure  for 
Measure,  i.  4;  temptation  to.  Measure  for  Measure,  ii.  2,  end  ;  effect 
of,  on  gravity,  Pleasure  for  Measure,  ii.  4  >  increased  by  unkind- 
ness,  Measure  for  Measure,  Hi.  1,  "  This  forenamed  maid,"  etc. ; 
jests  on.  Much  Ado  about  Nothing,  i.  1;  declared  by  proxy.  Much, 
Ado  about  Nothing,  ii.  1 ;  follies  of,  Much  Ado  about  Nothing,  ii. 
3  ;  signs  of,  Much,  Ado  about  Nothing,  Hi.  2  ;  protestations  of,  Much 
Ado  about  Nothing,  iv.  1;  Midsummer-NighV s  Dream,  i.  2 ;  Hi.  2; 
Romeo  and  Juliet,  ii.  6 ;  Hi.  2 ;  A  Wi7iter's  Tale,  i.  2 ;  iv.  3  or  4  > 
Henry  V.,  v.  2  ;  II.  Henry  VI,  Hi.  2 ;  Troilus  and  Cressida,  Hi.  2 ; 
iv.  2,  end;  iv.  4;  King  Lear,  i.  1;  Cymbeline,  i.  1,  3 ;  the  great  in, 
Love's  Labours  Lost,  i.  2 ;  and  rhyme,  Love'^s  Labour's  Lost,  i.  2, 
end  ;  symptoms  of.  Love's  Labour'' s  Lost,  ii.  1 ;  how  to  act  in.  Love's 
Labour's  Lost,  Hi.  1;  falling  in.  Love's  Labour's  Lost,  Hi.  1,  end  ; 
iv.  3 ;  effect  of,  on  the  faculties,  Love's  Labour's  Lost,  iv.  3 ;  fore- 
runners of,  Love's  Labour's  Lost,  iv.  3.  near  end;  disguised — the 
wise  in — declaration  of — trial  of.  Love's  Labour's  Lost,  v.  2  ;  art  of, 
Midsummer-Night's  Dream,  i.  1,  "  Call  you  me  fair,"  etc. ;  course  of 
true,  Midsummer-Night's  Dream,  i.  1;  spaniel-like,  Midsummer' 
Night's  Dream,  ii.  1 ;  flower  producing,  Midsummer-Night's  Dream, 
ii.  1,  2 ;  and  reason,  Midsummer-Night's  Dream,  Hi.  1;  blind.  Mer- 
chant of  Venice,  ii.  6  ;  Midsummer-Night' s  Dream.,  i.  1 ;  Romeo  and 
Juliet,  H.  1 ;  confessed,  3Ierchant  of  Venice,  Hi.  2 ;  diffidence  of ^ 
As  You  Like  It,  i.  2  ;  at  first  sight.  As  You  Like  It,  i.  2,  3 ;  Hi.  5  ; 
absurdities  of.  As  You  Like  It,  H.  4;  marks  of  a  man  in.  As  You 
Like  It,  Hi.  4  ;  reproof  for  disdain  of.  As  You  Like  It,  Hi.  5  ;  none 


INDEX  TO  SEAKSPERE'S    WORKS.  205 

ever  died  of,  As  You  Like  It,  iv.  1 ;  what  'tis— sudden,  As  You  Like 
It,  V.  2;  Taming  of  the  Shrew,  i.  1;  rough,  Taming  of  the  Shrew, 
ii.  1;  lectures  on— pleading  for  another  in,  Taming  of  the  Shrew,  i. 
2;  despairing,  AlVs  Well  that  Ends  Well,  i.  1,  3;  of  one  in  higher 
rank— belongs  to  youth— evidences  of,  AlVs  Well  that  Ends  Well,  t. 
3;  ambition  'm,  AWs  Well  that  Ends  Well,i.  1;  Hi.  4;  without. 
Airs  Well  that  Ends  Well,  iv.  2;  come  too  late,  AlVs  Well  that 
Ends  Well,  v.  2;  music  the  food  of— like  the  sea— one  sovereign. 
Twelfth  Night,  L  1;  and  flowers,  Tivelfth  Night,  i.  1,  end;  messen- 
ger of,  Twelfth  Night,  i.  4,  5;  refused,  Twelfth  Night,  i.  5;  hungry 
—never  told.  Twelfth  Night,  ii.  4;  offered  by  a  lady,  Tivelfth  Night, 
Hi.  1;  shows  itself.  Twelfth  Night,  Hi.  1;  unsought.  Twelfth  Night, 
Hi.  1, 4  ;  declaration  of.  Twelfth  Night,  v.  1 ;  indications  of,  A  Win- 
ter's Tale,  i.  2;  iv.  3  or  4;  prosperity  the  bond  of,  A  Winter's  Tale, 
iv.  3;  turns  to  hate,  Richard  II.,  Hi.  2;  this  no  world  for,  I.  Hen- 
ry IV.,  H.  3;  worth  a  million,  /.  Henry  IV.,  Hi.  3;   protestations 
of,  /.  Henry  IV.,  iv.  1 ;  sincerity  in,  Henry  V.,  v.  2  ;  sudden,  I.  Hen- 
ry VI.,  v.  3;  to  QX&vQTiCQ,  Richard  III,  i.  1;   suing  for.  Richard 
III,  i.  2;  of  Troilus,  Troilus  and  Cressida,  i.  1;  before  gained, 
Troilus  and  Cressida,  i.  2,  end;  nothing  but  (song).  Troilus  and 
Cressida,  Hi.  1 ;  enchantment  of— will  is  infinite,  Troilus  and  Cres- 
sida, Hi.  2;  comes  with  lack,  Coriolanus,  iv.l;  tyrannous  and  para- 
doxical, Romeo  and  Juliet,  i.  1 ;  sprung  from  hate,  Romeo  and  Juliet, 
i.  5 ;  infinite— daring  of,  Romeo  and  Juliet,  ii.  2 ;  in  the  eyes,  Ro- 
meo and  Juliet,  H.  3;  like  a  natural— slain  by,  Romeo  and  Juliet,  ii. 
4;  heralds  of,  Romeo  and  Juliet,  ii.  5;  moderate— lightness  of,  Ro^ 
meo  and  Jidiet,  ii.  6  ;  shadows  of,  Romeo  and  Juliet,  v.  1 ;  cooling, 
Julius  CcBsar,  iv.  2;  caution  in,  Hamlet,  i.  3;  madness  in,  Hamlet, 
ii.  1,  2;  inconstant,  Hamlet,  Hi.  2,  player  knig;  nature  is  fine  (sen- 
sitive) in,  Hamlet,  iv.  5  or  2  ;  effect  of  time  on,  Hamlet,  iv.  7  (or  4) ; 
undemonstrative— in  misfortune,  King  Lear,  i.  1 ;  penalty  for  giv- 
ing charms  for,  Othello,  i.  2,  3;  unnatural,  Othello,  i.  3;   doting, 
Othello,  H.  3,  "  And"  what's  he,"  etc. ;  its  crown  and  hearted  throne. 
Othello,  Hi.  3;  deceived,  Othello,  iv.2;  finds  grace  in  frowns,  Othel- 
lo, iv.  3;  not  wise,  Othello,  v.  2;  Antony  and  Cleopatra,  i.  1,  3,  5; 
iii.  9  or  11 ;  protestations  of,  Cymbeline,  i.  1,3;  impatience  of,  Cym- 
heline.  Hi.  2;   reason   of,  Cymbeline,  iv.  2;  repelled,   Vemcs  and 
Adonis,  lines  31,  130,  137;  compact  of  fire,  Venus  and  Adonis,  I. 
149  ;  surfeits  not,  Venus  and  Adonis,  I.  799  ;  ridiculous,  Venus  and 
Adonis,  I.  985;  prophecy  concerning.  Venus  and  Adonis.  I.  1136; 
want  of.  Sonnets  viii.-x. ;  poetry  of.  Sonnet  xxi. ;  hears  with  eyes. 
14 


306  INDEX  TO  SHAKSPERE'S   WORKS. 

Sonnet  xxiii. ;  of  the  dead,  Sonnet  xxxi. ;  self-abnegation  in,  Son- 
nets xxxv.-xxxix.,  Ixxxviii-xc,  cxlix. ;  wrongs  of.  Sonnets  xl.,  xciL, 
xciii. ;  falsehood  of.  Sonnets  xli.,  xlii. ;  the  eye  and  heart  in,  Son- 
nets xlvi.,  xlvii. ;  coldness  in,  Sonnet  xlix. ;  renewed,  Sonnet  Ivi.  ; 
makes  a  willing  slave.  Sonnets  Ivii.,  Iviii. ;  watchful,  Sonnet  Ixi.  ; 
change  in,  Sonnets  Ixxxvii.-xc. ;  the  best.  Sonnet  xci.  ;  in  absence, 
Sonnets  xcvii.,  xcviii. ;  show  of,  Sonnet  cii. ;  constancy  in,  Sonnet 
cr. ;  prescience  of  loss  in,  Sonnet  cvii.  ;  expression  of,  like  prayers, 
Sonnet  cviii. ;  wanderings  of.  Sonnet  cix. ;  alchemy  of,  Sonnet  cxiv. ; 
growth  of.  Sonnet,  cxv. ;  that  alters,  when  it  alteration  finds,  Sonnet 
cxvi. ;  not  time's  fool.  Sonnet  cxvi. ;  trial  of  the  constancy  of.  Sonnet 
cxvii. ;  policy  in,  Sonnet  cxviii. ;  renewed.  Sonnet  cxix. ;  reconcilia- 
tion in.  Sonnet  cxx, ;  independent  of  circumstance.  Sonnet  cxxiv. ; 
of  one  unworthy.  Sonnets  cxxvii.,  cxlii.-cxliv.,  cL,  clii. ;  unfaithful- 
ness in.  Sonnets  cxxxiii.,  cxxxiv. ;  blind  fool.  Sonnet  cxxxvii. ;  de- 
ceived. Sonnets  cxxxvii.,  cxxxviii. ;  despair  in.  Sonnet  cxl. ;  not  in 
the  senses,  Sonnet  cxli. ;  of  two,  Sonnet  cxliv. ;  a  fever,  Sonnet 
cxlvii. ;  blind,  Sonnet  cxlviii. ;  perjury  in,  Sonnet  clii.;  fire  of. 
Sonnets  cliii.,  cliv. ;  betrayed,  Xoyer's  Complaint ;  potential,  Zot'ers 
Complaint,  I.  264;  fickle.  Passionate  Pilgrim,  vii.,  xvii.;  perfect. 
The  Phoenix  and  the  Turtle. 

Love-broker,  report  of  valour  the  best.  Twelfth  Night,  Hi.  2. 

Love-in-idleness,  Midsummer-Nighfs  Dream,  ii.  1.   The  pansy. 

Love  is  my  sin  and  thy  dear  virtue  hate.  Sonnet  cxlii. 

Love  is  too  young  to  know  what  conscience  is,  Sonnet  cli. 

Lovel,  Francis,  Lord,  character  in  Richard  III.,  first  appears  in 
iii.  4-  He  was  one  of  Richard's  chief  supporters,  fled  to  France 
after  Bosworth,  but  returned  and  took  the  side  of  Lambert  Simnel. 

Love-Letters,  Two  Gentlemen  of  Verona,  i.  2 ;  ii.  1;  iii.  1; 
Merry  Wives  of  Windsor,  ii.  1 ;  Love's  Labour's  Lost,  iv.  1,  2 ;  v.  2 ; 
As  You  Like  It,  iv.  3  ;  Twelfth  Night,  ii.  3,  5  ;  Hamlet,  ii.  2 ;  Cym- 
heline,  iii.  4  /  blanks  for.  Merry  Wives  of  Windsor,  ii.  1. 

Lovell,  Sir  Thomas,  character  in  Henry  V^II.  introduced  in  i, 
2.     He  was  a  favourite  with  both  Henry  VII.  and  Henry  VIII.,  was 
a  devout  Catholic,  endowed  the  priory  at  Halliwell,  Shoreditch,  and 
built  a  chapel  there,  where  he  was  buried.     An  inscription  reads : 
"  All  ye  nunns  of  Halliwell, 
Pray  ye  both  day  and  night 
For  the  soul  of  Sir  Thomas  Lovell, 
Whom  Harry  the  Seventh  made  Knight." 
Sir  Thomas  Lovell  is  mentioned  in  Richard  III,  iv.  4. 


INDEX   TO  SHAKSPERE'S   WORKS.  207 

Love-making,  Comedy  of  Errors,  Hi.  2 ;  iv.  2 ;  Merry  Wives 
of  Windsor,  ii.  1,  2 ;  Hi.  4 ;  Midsummer- Night's  Dream,  i.  1 ;  Hi. 
2 ;  Twelfth  Night,  i.  5  ;  v.  1 ;  Richard  III.,  i.  2  ;  Antony  and  Cleo- 
patra, i.  3 ;  Cymbeline,  ii.  3 ;  Troilus  and  Gressida,  Hi.  2 ;  iv.  2 ; 
V.  2  ;  Romeo  and  Juliet,  ii.  1 ;  The  Tempest,  Hi.  1 ;  Much  Ado  about 
Nothing,  iv.  1 ;  v.3  ;  Taming  of  the  Shrew,  Hi.  1 ;  A  Winter's  Tale, 
iv.  If ;   Venus  and  Adonis,  lines  1-768. 

Lover(s),  mercenary,  Measure  for  Measure,  Hi.  1,  "  She  should 
this  Angelo  have  married,"  etc. ;  keen  faculties  of,  Love's  Lahonr'x 
Lost,  iv.  3 ;  trusting  a.  Love's  Labour's  Lost,  v.  2  ;  fantasies  of — all 
compact  of  imagination,  Midsummer-Night's  Dream,  v.  1 ;  sighs  of, 
As  You  Like  It,  ii.  7 ;  propositions  of  a.  As  You  Like  It,  Hi.  2 ; 
given  to  poetry.  As  You  Like  It,  Hi.  4;  fickle  in  everything  but 
love.  Twelfth  Night,  ii.  4;  generosity  in,  A  Winter's  Tale,  iv.  3  or  4; 
vows  of,  Troilus  and  Cressida,  Hi.  2 ;  sighs  of,  Romeo  and  Juliet, 
i.  1;  chaffing  a,  Romeo  and  Juliet,  H.  1 ;  ravings  of,  Romeo  and 
Juliet,  ii.  2 ;  impatience  of,  Romeo  and  Juliet,  ii.  5 ;  exiled,  Romeo 
and  Juliet,  Hi.  3 ;  partings  of,  Romeo  and  JuUet,  Hi.  5 ;  Twj  Gen- 
tlemen of  Verona,  ii.  2 ;  Antony  and  Cleopatra,  i.  3 ;  meeting  of, 
Othello,  ii.  1,  "  0  my  fair,"  etc. ;  exaggerations  of,  Antony  and  Cleo- 
patra, i.  5 ;  tedious,  Venus  and  Adonis.  I.  84I ;  gifts  of,  Lover's 
Complaint,  lines  197,  232 ;  like  misers.  Sonnet  Ixxv. ;  see  only  the 
beloved,  So7inets  cxiii..  cxiv. 

Lover's  Complaint,  A,  a  poem  first  published  in  1609,  with  the 
first  edition  of  the  Sonnets.  From  its  style  it  is  judged  to  have  been 
written  before  the  Sonnets  and  after  the  other  poems. 

Loves,  of  the  poets,  Romeo  and  Juliet,  ii.  4. 

Love-songs,  Hamlet,  iv.  5  or  2 ;  Troilus  and  Cressida. 
Hi.  1. 

Love-Sonnets,  addressed  to  a  man,  i.-cxxvi. ;  to  a  woman, 
cxxvii.-clii. 

Love's  Labour's  Lost,  one  of  the  earliest,  if  not  the  very  earli- 
est, of  the  comedies,  the  date  commonly  assigned  to  it  being  the 
poet's  twenty-fifth  year.  It  was  first  published  in  1598  in  an  edition 
"  corrected  and  augmented."  Shakspere's  work  on  Titus  Andronicus 
is  alone  thought  to  be  earlier  than  this  in  its  original  form.  No  play 
or  story  is  known  on  which  this  comedy  could  have  been  foundefl. 
Editors  have  discovered  only  a  passage  in  Monstrelet,  concerning  a 
negotiation  between  the  Kings  of  Navarre  and  France,  by  which 
Navarre  gave  up  the  castle  of  Cherbourg,  the  county  of  Evreux,  and 
all  the  other  lordships  he  possessed  within  the  kingdom  of  France, 


208  INDEX  TO.  SHAKSPERE'S  WORKS. 

and  received  the  duchy  of  Nemours  and  two  hundred  thousand  gold 
crowns.     The  scene  is  Navarre.     Coleridge  says  of  the  play : 

"  The  satire  is  chiefly  on  follies  of  words.  .  .  .  The  frequency  of 
the  rhymes,  the  sweetness  as  well  as  the  smoothness  of  the  metre, 
and  the  number  of  acute  and  fancifully  illustrated  aphorisms,  are 
all  as  they  ought  to  be  in  a  poet's  youth.  True  genius  begins  by 
generalizing  and  condensing ;  it  ends  in  retdizing  and  expanding." 

Love's  Labour's  Won.     See  All's  Well  that  End's  Well. 

Love-verses,  Two  Gentlemen  of  Verona,  ii.  1 ;  Hi.  1 ;  iv.  2 ; 
Love's  Lahoufs  Lost,  iv.  2,  3;  As  You  Like  It,  Hi.  2;  Twelfth 
Night,  ii.  5 ;  directions  for  writing,  Two  Gentlemen  of  Verona,  Hi.  2. 

Lowly,  better  to  be.  Henry  VIIL,  ii.  3  ;  Cymheline,  i.  6. 

Loyalty,  in  service,  As  You  Like  It,  i.  3 ;  ii.  3 ;  professions  of, 
Richard  II.,  i.  3 ;  Henry  VIIL,  Hi.  2 ;  King  John,  iv.  2 ;  Macbeth, 
i.  4 ;  difficult,  of  York,  Richard  II.,  ii.  2  ;  Kent's,  King  Lear,  i.  4  ; 
pretended,  King  Lear,  Hi.  5  ;  to  the  fallen,  Antony  and  Cleopatra, 
Hi.  11  or  13  ;  where  shall  it  find  a  harbour  in  the  earth  %  II.  Henry 
VI.,  V.  L 

Lozel  (good-for-nothing),  A  Winter's  Tale,  H.  3. 

Lubber,  the  world  a  great.  Twelfth  Night,  iv.  1. 

Lubber's  Head  (leopard's),  an  inn,  //.  Henry  IV.,  ii.  1. 

Lucentio,  the  successful  suitor  of  Bianca  in  the  learning  of  the 
Shreiv,  introduced  in  i.  1,  who  goes  into  her  father's  family  as  a 
teacher  under  the  assumed  name  of  Cambio. 

Luce,  servant  of  Adriana  in  the  Comedy  of  Errors. 

Luces,  the  dozen  white,  Merry  Wives  of  Windsor,  i.  1.  A  sup- 
posed allusion  to  the  arms  of  the  Lucy  family,  in  which  there  were 
three  pike,  luce  being  another  name  for  that  fish.     See  Shallow. 

Lucetta,  Julia's  maid  in  the  Two  Gentlemen  of  Verona,  who  is 
keen-sighted  enough  to  discover  the  true  character  of  Proteus,  ap- 
pears in  i.  2. 

Luciana,  sister  of  the  wife  of  Antipholus  of  Ephesus  in  Comedy 
of  Errors.  She  is  mild-tempered  and  gentle,  forming  a  contrast  to 
her  vixenish  sister,  and  advocating  the  theory  of  wifely  submission 
to  which  Katherine  is  brought  in  the  Taming  of  the  Shrew. 

Lucianus,  nephew  of  the  player  king,  Hamlet,  Hi.  2. 

Lucifer,  Merry  Wives  of  Windsor,  ii.  2,  end ;  falls  like,  Henry 
VIIL,  Hi.  2  ;  King  John,  iv.  3. 

Lucilius,  a  servant  of  TimMn  of  Athens,  introduced  in  i.  1. 

Lucilius,  a  friend  of  Brutus  in  Julius  Ccesar,  appears  in  iv,  2; 
made  prisoner,  v.  4. 


INDEX  TO  SHAKSPERE'S    WORKS.  209 

Lucio,  a  fantastic  in  Measure  for  Measure,  introduced  in  i.  2,  a 
witty  but  vile  and  shameless  character. 

Lucius,  one  of  the  flattering  lords  in  Timon  of  Athens,  intro- 
duced in  Hi.  2,  where  he  mentions  the  presents  he  has  received  from 
Timon,  and  makes  an  excuse  for  not  lending  him  money  in  his  need. 

Lucius,  servant  of  Brutus  in  Julius  Ccesar,  introduced  in  ii.  1. 

Lucius,  character  in  Titus  Andronicus,  son  of  Titus,  introduced 
in  i.  1  or  2,  where  he  demands  the  sacrifice  of  a  prisoner^  to  the 
shades  of  his  brothers;  banished.  Hi.  1 ;  general  of  the  Goths,  iv.  4; 
V.  1 ;  made  emperor,  v.  3. 

Lucius,  Young,  a  brave  child,  son  of  Lucius  in  Titus  Andronicus, 
introduced  in  Hi.  2. 

Lucius,  brother  of  Antony,  mentioned  in  Antony  and  Cleopatra, 
i.  2,  as  in  alliance  with  Fulvia. 

Lucius,  Caius,  general  of  the  Roman  forces  in  Cymheline,  intro- 
duced in  Hi.  1,  where  he  demands  payment  of  the  tribute. 

Lucius  Pella,  condemned  for  taking  bribes,  Julius  Ccesar,  iv.  3. 

Luck,  bad,  an  indication  of  want  of  piety,  Merry  Wives  of  Wind- 
sor, iv.  5  ;  good,  in  odd  numbers,  Merry  Wives  of  Windsor,  v.  1.  See 
Omens. 

Lucrece,  a  poem  published  in  1594,  dedicated  to  the  Earl  of 
Southampton.  The  story  on  which  it  is  founded  is  told  by  Ovid  and 
Livy,  and  is  given  in  the  argument  that  Shakspere  prefixed  to  the 
poem.     Coleridge  says : 

"  In  this  poem  ['  Venus  and  Adonis "]  and  '  The  Rape  of  Lucrece ' 
Shakspere  gave  ample  proof  of  his  possession  of  a  most  profound, 
energetic,  and  philosophical  mind,  without  which  he  might  have 
pleased,  but  could  not  have  been  a  great  dramatic  poet." 

References  to  Lucrece,  As  You  Like  It,  Hi.  2,  song;  Taming  of 
the  Shreiv,  ii.  1 ;  Twelfth  Night,  ii.  5. 

Lucretius,  Lucrece,  I.  1151. 

Lucullus,  one  of  the  flattering  lords  in  Timon  of  Athens,  intro- 
duced in  Hi.  1.  When  Timon  sends  to  him  for  a  loan  in  this  scene, 
he  tries  to  bribe  the  servant  to  say  to  Timon  that  he  had  not  been 
seen.     Timon's  servant  calls  him  "  Thou  disease  of  a  friend." 

Lucy,  Lady  Elizabeth,  Richard  III.,  Hi.  7. 

Lucy,  Sir  William,  character  in  I.  Henry  VI,  first  appears  in 
iv.  3,  seeking  reenforcements  for  Talbot. 

Lucy,  Sir  Thomas,  supposed  allusion  to,  in  Merry  Wives  of 
Windsor,  i.  1.     See  Luces  and  Shallow. 

Ludlow  Castle,  an  ancient  and  celebrated  castle  in  Shropshire, 


210  INDEX  TO  SHAKSPERE'S  WORKS. 

where  the  young  prince  (Edward  V.)  was  living  with  his  uncle,  Earl 
Rivers,  Ricliard  III.,  ii.  2.  In  the  time  of  Elizabeth,  the  castle  was 
in  possession  of  the  Sidney  family. 

Lud's-town  (London),  Cymbeline,  Hi.  1 ;  iv.  2. 

Lunatic,  the,  imagination  of,  3Iidsummer-Nighfs  Dream,  v.  1; 
speech  of,  Cymbeline,  v.  4..    See  Insane,  Insanity,  Madness. 

Lunes  (insane  freaks).  Merry  Wives  of  Wi?idsor,  iv.  2 ;  A  Win- 
te?''s  Tale,  ii.  2  ;  Troilus  atid  Cressida,  ii.  3  ;  Hamlet,  Hi.  3. 

Lupercal,  feast  of,  Julius  Ccesar,  i.  1 ;  Hi.  2.  In  honour  of  Lu- 
percus,  a  god  of  the  woods  and  of  shepherds,  who  was  supposed  to 
keep  away  wolves.     It  fell  on  February  15th. 

Lurched  (robbed),  Coriolamis,  li.  2. 

Lust,  wicked  fire  of,  Merry  Wives  of  Windsor,  ii.  1 ;  though  to 
an  angel  linked,  Hamlet,  i.  5 ;  Venus  and  Adonis,  I.  794;  Sonnet 
cxxix. 

Lustick  {lustig,  merry),  AlVs  Well  that  Ends  Well,  ii.  3. 

Lute,  pleasing  of  a,  Richard  III.,  i.  1 ;  melancholy  as  a  lover's, 
/.  Henry  IV.,  i.  2  ;  broken  over  the  teacher,  Taming  of  the  Shreiv, 
ii.  1 ;  music  of  the,  Henry  VIII.,  Hi.  1. 

Lutheran,  a  spleeny,  Henry  VIII.,  Hi.  2. 

Lux  tua,  etc.,  Pericles,  ii.  2.     Thy  light  is  my  life. 

Lying,  the  world  given  to,  /.  Henry  IV.,  v.  3  ;  as  easy  as,  Ham- 
let, Hi.  2  ;  becomes  only  tradesmen,  A  Winter's  Tale,  iv.  3 ;  old  men 
subject  to  the  vice  of,  II.  Henry  I V.,  Hi.  2. 

Lychorida,  nurse  of  Marina,  in  Pericles,  first  appears  in  Hi., 
chorus  ;  her  death,  iv.  1. 

Lymoges,  Archduke  of  Austria.    See  Austria. 

Lycurgeses,  Coriolamis,  ii.  1. 

Lym,  a  hunting-dog,  King  Lear,  Hi.  6. 

Lysander,  character  in  Midsummer-NigM s  Dream,  introduced 
in  i.  1,  a  lover  of  Hermia. 

Lysimachus,  governor  of  Mitylene,  character  in  Pericles,  first 
appears  in  iv.  6  ;  betrothed  to  Marina,  v.  1  or  2. 

Mab,  Queen,  Romeo  and  JuUet,  i.  4. 

Macbeth  is  a  drama  sometimes  placed  first  among  the  histories, 
but  usually  with  the  tragedies.  It  was  included  in  the  folio  of  1623 : 
the  earliest  known  allusion  to  it  was  made  in  1610 ;  and  the  date  of 
writing  is  placed  between  1604  and  1610.  The  story  is  given  mainly 
as  it  appears  in  Holinshed's  "  Chronicles."  The  circumstances  of 
the  assassination  are  found  in  Holinshed's  account  of  the  murder  o? 


INDEX  TO  SHAKSPERE'S   WORKS.  211 

King  Duff  by  Donwald  and  his  wife  in  their  castle  at  Fores.  The 
time  of  the  historical  action  is  from  1039  to  1057;  but  Shakspere 
has  crowded  the  events  together  for  dramatic  effect.  Many  castles 
are  designated  as  the  one  in  which  Macbeth  killed  Duncan.  Glamis 
Castle,  five  miles  from  Forfar,  is  one ;  Cawdor  Castle,  six  miles  from 
Xairn,  is  another ;  Fores  Castle  a  third,  and  Macbeth's  castle  at  In- 
verness a  fourth.  In  Macbeth's  time  there  were  no  castles  of  stone 
and  mortar;  timber  and  sods  were  the  materials  used.  A  castle 
built  of  these  materials  stood  on  an  eminence  southeast  of  Inver- 
ness. This  was  razed  by  Malcolm  Canmore,  son  of  Duncan,  and 
a  new  one  was  built  on  another  part  of  the  hill.  It  was  this  castle 
that  Dr.  Johnson  visited  in  1773,  supposing  it  to  be  the  identical 
castle  in  which  Duncan  was  murdered. 

"  While  in  '  Romeo  and  Juliet '  and  in  '  Hamlet '  we  feel  that 
Shakspere  now  began  and  now  left  off,  and  refined  upon  or  brooded 
over  his  thoughts,  Macbeth  seems  as  if  struck  out  at  a  heat,  and 
imagined  from  first  to  last  with  unabated  fervour.  It  is  like  a 
sketch"  by  a  great  master  in  which  everything  is  executed  with  rapid- 
ity and  power,  and  a  subtlety  of  workmanship  which  has  become  in- 
stinctive."— DOWDEX. 

Macbeth,  King  of  Scotland,  is  introduced  in  i.  3  of  the  play,  in 
the  scene  on  the  witches'  heath;  murders  Duncan,  ii.  1,  and  is 
made  king ;  causes  Banquo  to  be  murdered,  Hi.  1 ;  and  Macduff's 
family,  iv.  1,  2  ;  meets  the  English  army  at  Dunsinane,  Ad  v.,  and 
is  slain  by  Macduff,  v.  8.  As  a  matter  of  fact,  he  was  not  killed  at 
Dunsinane,  but  at  Lumphanan  two  years  later,  in  1057.  He  is  de- 
scribed by  his  wife  in  the  fifth  scene  of  the  first  act ;  his  ambition 
has  to  contend  with  conscientious  scruples ;  "  What  thou  wouldst 
highly,  that  wouldst  thou  holily ; "  he  is  "  too  full  of  the  milk  of 
human  kindness  to  catch  the  nearest  way."  These  in  the  beginning 
are  very  nearly  balanced ;  he  dwells  on  the  prophecy  and  the  means 
by  which  he  might  realize  it ;  on  the  other  hand,  he  dwells  on  Dun- 
can's character  and  the  honours  he  had  received  from  him.  The 
scale  inclines  to  the  side  of  right,  when  his  wife's  influence  is  again 
exerted,  and  Duncan's  death  is  resolved  upon.  Struggling  with  re- 
morse of  conscience,  he  confuses  it,  as  Coleridge  says,  with  the  feel- 
ing of  insecurity,  and  plunges  into  more  crime  in  order  to  make 
himself  safe  in  the  results  of  the  first.  But  his  is  not  a  character  to 
be  contented  or  happy  in  infamy ;  his  conscience  and  his  imagina- 
tion work  upon  him  till  he  is  as  if  driven  on  by  an  irresistible  fate, 
liaving  "  stepped  so  far  in  blood  that  returning  were  as  tedious  as 
gi^ng  over."     So  possessed  is  he  with  despair,  that  the  news  of 


212  INDEX  TO  SHAKSPERE'S   WORKS. 

his  wile's  death  only  draws  from  him  the  philosophy  of  hopeless- 
ness : 

"  And  all  our  yesterdays  have  lighted  fools 
The  way  to  dusty  death." 

"  Although  it  is  difficult  to  separate  the  Macbeth  of  history  from 
the  jMaebeth  of  Shakspere  and  tradition,  he  appears  to  have  ruled 
Scotland  well,  and  to  have  benefited  the  church  in  no  small  degree." 
— Dictionary  of  English  History. 

Macbeth,  Lady,  character  in  Macbeth,  introduced  in  i.  5,  where 
she  promptly  plans  the  murder  of  Duncan  on  hearing  that  he  is  to 
sleep  at  her  house ;  spurs  on  Macbeth  to  it,  ^.  7  ;  places  the  daggers 
by  the  guards,  ii.  2  ;  in  the  banquet  scene.  Hi.  J^;  in  the  sleep-walk- 
ing scene,  v.  1;  the  doctor's  report,  v.  3;  her  death,  v.  5.  The 
wife  of  Macbeth  in  history  was  the  Lady  Guroch,  granddaughter 
of  Kenneth  IV.,  and  was  a  widow  before  her  marriage  with  Mac- 
beth. 

"  Lady  Macbeth  is  of  a  finer  and  more  delicate  nature  [than'  Mac- 
beth]. Having  fixed  her  eye  upon  an  end — the  attainment  for  her 
husband  of  Duncan's  crown — she  accepts  the  inevitable  means ;  she 
nerves  herself  for  the  terrible  night's  work  by  artificial  stimulants ; 
yet  she  cannot  strike  the  sleeping  king  who  resembles  her  father. 
Having  sustained  her  weaker  husband,  her  own  strength  gives  way ; 
and  in  sleep,  when  her  will  cannot  control  her  thoughts,  she  is  pite- 
ously  afflicted  by  the  memory  of  one  stain  of  blood  upon  her  little 
hand." — Dowden. 

Macdonwald,  a  rebel  against  Duncan,  vanquished  and  killed, 
^Macbeth,  i.  2. 

Macduff,  Thane  of  Fife,  an  important  character  in  Macbeth,  in- 
troduced in  i.  6 ;  he  discovers  the  murdered  king,  ii.  1 ;  has  fied  to 
England,  iv.  1 ;  confers  with  Malcolm  and  hears  of  the  murder  of 
his  family,  iv.  3 ;  slays  ISLacbeth,  v.  8.  Macduff  is  loyal,  slow  to 
suspect,  and  unambitious ;  but,  when  roused,  he  is  resolute,  brave, 
and  unbending.  The  remains  of  Macduff's  castle  are  said  to  exist 
about  three  miles  from  Dysart,  in  Fifeshire.  Other  ruins  are  also 
pointed  out  as  his  castle. 

Macduff,  Lady,  character  in  3Iacbeth,  introduced  in  iv.  2,  where 
she  witnesses  the  murder  of  her  little  son,  and  is  pursued  by  the 
murderers  and  afterward  killed.  The  news  carried  to  Macduff  by 
Rosse,  iv.  3. 

Macduff,  the  little  son  of,  Macbeth,  iv.  2. 

Macedon,  compared  with  ]\Ionmouth,  Henry  V.,  iv.  7. 

Machiavel,  Jlerry  Wives  of  Witidsor,  Hi.  1;  I.  Henry  Vl.,v. 


INDEX  TO  SHAKSPERE'S  WORKS.  213 

4;  III.  Hennj  YI.,  Hi.  2.  He  was  born  in  Italy  in  1469.  Henry 
VI.  died  in  1471. 

MacMorris,  Captain,  character  in  Henry  F.,  first  appears  in  Hi. 
2.  He  is  an  Irish  captain,  described  by  Fluellen  as  having  "  no 
more  directions  in  the  true  discipline  of  the  wars,  look  you,  of  the 
Roman  disciplines,  than  is  a  puppy  dog ! " 

Madmen,  speech  of,  Cijmheline,  v.  4,  "Tongue  and  brain 
not  " ;  imagination  of,  3Iidsummer-Night''s  Dream,  v.  1. 

Madness,  symptoms  and  treatment  of.  Comedy  of  Errors,  iv.  ^  ; 
Jleasure  for  Measure,  iv.  4  ;  cause  of.  Comedy  of  Errors,  v.  1 ;  sense 
in,  Pleasure  for  Measure,  v.  1;  letters  of.  Twelfth  Night,  v.  1; 
prayed  for.  King  John,  Hi.  4;  method  in,  Hamlet,  ii.  2 ;  like  sweet 
bells  jangled,  Hamlet,  Hi.  1 ;  a  test  of,  Hamlet,  Hi.  4,  "  Ecstasy ! 
My  pulse,"  etc. ;  Ophelia's,  Hamlet,  iv.  5  or  2  ;  harm  done  in,  Ham- 
let, V.  2,  "  Give  me  your  pardon,"  etc. ;  prayer  concerning,  King 
Lear,  i.  5 ;  he's  that  way,  King  Lear,  Hi.  4 ;  remedy  for,  King 
Lear,  iv.  4  ;  reason  in.  King  Lear,  iv.  6  ;  recovery  from.  King  Lear, 
iv.  7 ;  the  error  of  the  moon,  Othello,  v.  2 ;  the  world  mad.  King 
John,  ii.  2.    See  Insanity. 

Madonna,  the,  appears  to  Joan,  /.  Henry  VI.,  i.  2. 

Magic,  The  Tempest,  i.  2 ;  Hi.  1-3 ;  music  by.  The  Tempest, 
Hi.  2 ;  graves  opened  by — Prospero  abjures.  The  Tempest,  v.  1.  See 
Witchcraft. 

Magician,  Rosalind  claims  to  be  a.  As  You  Like  It,  v.  2  ;  Glen- 
dower  a,  /.  Henry  IV.,  i.  3. 

Magistrate(s),  of  the  people,  a,  Coriolanus,  Hi.  1,  "  Who  puts 
his  shall,"  etc. ;  petty,  Coriolanus,  ii.  1. 

Magnanimity,  toward  enemies,  /.  Henry  IV.,  v.  5 ;  of  a  sol- 
dier, Coriolanus,  ii.  2. 

Mag^e  Dominator  poli,  etc.,  Titus  Andronicus,  iv.  1.  Great 
lord  of  the  heaven,  dost  thou  so  leniently  hear  of  wickedness  ?  so 
leniently  look  upon  it  ? 

Magnificoes,  Merchant  of  Venice,  iv.  1 ;  Othello,  i.  2. 

Magpie,  the  (magot-pie),  Macbeth,  Hi.  4 ;  (pie)  ///.  Henry  VI., 
V.  6. 

Mahomet,  inspired  with  a  dove,  I.  Henry  VI.,  i.  2.  Alluding 
to  the  story  that  Mahomet  had  a  tame  dove,  which  he  used  to  feed 
with  wheat  from  his  ear,  and  which  he  led  his  followers  to  believe 
was  the  Holy  Spirit. 

Mahu,  a  fiend.  King  Lear,  Hi.  4  ;  iv.  1.  The  names  of  fiends 
in  these  two  scenes  and  in  Hi.  G  are  said  to  be  taken  from  a  book  by 


214  INDEX  TO  SHAKSPERE'S   WORKS. 

one  Har>!iet.  published  in  1603,  entitled  ''  Declaration  of  Popish  Im 
postni'es.**  and  giving  many  details  about  witchcraft. 

Maidenhood,  Jlidsummer-Highfs  Dream,  ii.  1.  See  Elizabeth. 
It  has  also  been  supposed  that  the  "  little  western  flower  "  may  refer 
to  Lettice,  Countess  of  Essex,  with  whom  Leicester  carried  on  an 
intrigue  during  her  husband's  absence  in  Ireland.  The  "  mermaid 
on  a  dolphin's  back,"  once  interpreted  as  referring  to  Mary  Queen  of 
Scots,  is  now  known  to  refer  to  a  part  of  the  exhibition  given  by 
Leicester  at  Kenilworth  for  Elizabeth's  entertainment,  in  1575,  a 
mermaid  on  a  dolphin's  back  with  shooting  fires. 

Maiden(s),  to  travel  alone,  As  You  Like  It,  i.  3 ;  when  they 
sue.  Pleasure  for  Measure,  i.  5 ;  flowers  for,  A  Winter's  Tale,  iv.  3 
or  4 ;  advice  to  a,  Hamlet,  i.  3  ;  Hi.  1. 

Maine,  an  ancient  province  in  France,  lost  to  England,  IL 
Henry  VI.,  i.  1;  iv.  1,  7. 

Majesty,  will  not  endure  boldness  in  a  subject,  /.  Henry  IV., 
i.  3;  weariness  under,//.  Henry  IV.,  iv.  If.;  sits  not  so  easy,  //. 
Henry  IV.,  v.  2 ;  interests  dependent  on,  Hamlet,  Hi.  3 ;  stoops  to 
folly,  King  Lear,  i.  1. 

Make  (do).  As  You  Like  It,  i.  1 ;  ii.  2,  and  elsewhere. 

Makeless  (raateless),  Sonnet  ix. 

Malady,  the  lesser  dwarfed  by  the  greater.  King  Lear,  Hi.  ^. 

Malchus,  of  Arabia,  Antony  and  Cleopatra,  Hi.  6. 

Malcolm,  afterward  Malcolm  III.,  surnamed  Canmore,  son  of 
Duncan  in  Macbeth,  introduced  in  i.  2.  In  i.  4  he  is  named  Prince 
of  Cumberland,  which  was  equivalent  to  being  appointed  successor 
to  the  throne;  flees  to  England,  ii.  1;  makes  accusations  against 
himself  to  test  Macduff,  iv.3  ;  returns  with  his  uncle  Siward  to  fight 
against  Macbeth,  v.  2 ;  is  Hailed  as  king.  v.  8.  He  is  represented  as 
able  and  brave,  though  cautious  and  prudent ;  and  this  seems  to  have 
been  the  character  of  Malcolm  III.  in  history,  whose  reign  extended 
from  1058  to  1093.     Canmore  signifies  "  Great  Head." 

Maledictions,  The  Tempest,  i.  2;  ii.  2;  Hi.  2;  iv.  1;  v.  1; 
Tt^oihis  and  Cressida,  H.  1,  3 ;  v.  1.     See  Curses. 

Malevolence,  expressed,  Coriolanus,  iv.  5  ;  Macletli,  iv.  3. 

Malice,  nothing  set  down  in,  Othello,  v.  2.     See  Envy. 

Mall,  Mistress,  Twelfth  Night,  i.  3.  A  character  of  Shakspere's 
time  usually  known  as  Mall  Cutpurse.  She  dressed  in  man's  cloth- 
ing, and  was  the  heroine  of  a  play  by  Middleton  and  Dekker,  "  Tlse 
Roaring  Girl,"  which  was  acted  at  the  Fortune  Theatre  and  was 
published  in  1611.     Her  real  name  was  Mary  Frith,  and  her  chief 


INDEX  TO  SHAKSPERE'S    WORKS.  215 

exploit  was  the  robbery  of  General  Fairfax  on  Hounslow  Heath,  for 
which  she  was  sent  to  Xewgate. 

Malmsey-Butt,  Richard  HI.,  i.  4.  Clarence  has  been  called 
from  this  "  Malmsey  Clarence." 

Malt-worms  (drunkards),  I.  Henry  IV.,  ii.  1. 

Malvolio,  Olivia's  steward  in  Twelfth  Night,  introduced  in  i.  5. 
lie  is  a  fool  of  the  solemn  pompous  order,  conceited  and  Pharisaical, 
flis  puritanical  precision  incites  the  conspirators  in  the  household  to 
play  their  cruel  practical  jokes  upon  him,  to  which  his  conceit  makes 
him  fall  an  easy  prey. 

Mamilius,  the  little  prince  in  A  Winter's  Tale,  introduced  in  i. 
2;  his  talk  with  the  queen's  ladies,  ii.  1;  his  illness,  ii.  3;  his 
death  in  consequence  of  his  mother's  disgrace,  m,  2. 

"  And  to  the  very  end  I  must  confess  that  I  have  in  me  so  much 
of  the  spirit  of  Rachel  weeping  in  Ramah  as  will  not  be  comforted 
because  Mamilius  is  not.  It  is  well  for  those  whose  hearts  are  light 
enough  to  take  perfect  comfort  in  the  substitution  of  his  sister  Per- 
dita  for  the  boy  who  died  of  '  thoughts  high  for  one  so  tender.'  Even 
the  beautiful  suggestion  that  Shakspere  as  he  wrote  had  in  mind  his 
own  dead  little  son  still  fresh  and  living  at  his  heart,  can  hardly  add 
more  than  a  touch  of  additional  tenderness  to  our  perfect  and  piteous 
delight  in  him." — Swinburne. 

Mammering  (hesitating),  Othello,  Hi.  3. 

Mamimet  (puppet),  Romeo  and  Juliet,  Hi.  5. 

Mammock  (tear  to  pieces),  Coriolanus,  i.  3. 

Man,  varnish  of  a  complete.  Love's  Labour's  Lost,  i.  2 ;  place  for 
every,  All's  Well  that  Ends  Well,  iv.  3 ;  God  made  him;  therefore 
let  him  pass  for  a.  Merchant  of  Venice,  i.  2  ;  a  better,  better  spared, 
/.  Henry  IV.,  v.  4  /  a  model,  II.  Henry  IV.,  ii.  3 ;  grace  of,  sought, 
Richard  III,  Hi.  4  ;  a,  not  honoured  as  man,  Troilus  and  Cressida, 
Hi.  3 ;  one  honest,  Timon  of  Athens,  iv.  3,  "  Had  I  a  steward,''  etc. ; 
nature  might  say  this  was  a,  Julius  Ccesar,  v.  5 ;  died  like  a,  Mac- 
beth, V.  7 ;  taken  for  all  in  all,  Hamlet,  i.  2 ;  you  cannot  play  upon* 
a.  Hamlet,  Hi.  2 ;  to  give  the  world  assurance  of  a.  Hamlet,  Hi.  4.  ; 
what  a  piece  of  work  is,  Hamlet,  ii.  2 ;  capability  of,  Hamlet,  ir.  4. 
or  1 ;  more  than  wit,  King  Lear,  ii.  4 ;  unaccommodated  (uncivil- 
ized), King  Lear.  Hi.  4  ;  life  of  a,  tedious,  Cymheline,  Hi.  6  ;  a,  with 
a  woman's  beauty,  Sonnet  xx.     See  Men. 

Manage  (behaviour),  As  You  Like  It,  i.  1. 

Mandragora  (mandrake),  a  soporific,  Othello,  Hi.  3;  Antony 
and  Cleopatra,  i.  '>. 

Mandrake,  Hio.  superstition  concerning — that  it  gave  a  shriek 


216  INDEX  TO  SHAKSPERE'S   WORKS, 

when  pulled  from  the  ground,  and  that  an  evil  fate  pursued  the  one 
that  rooted  it  up,  //.  Henry  VL,  Hi.  2  ;  Romeo  and  Juliet,  iv.  3. 

Mandrake  (a  small  person),  II.  Henry  IV.,  i.  3. 

Manhood,  forgot  on  earth.  /.  Henry  lY.,  ii.  4;  degenerated, 
Much  Ado  about  Nothing,  iv.  1 ;  is  called  foolery  when  it  stands 
against  a  falling  fabric,  Coriolanus,  Hi.  1. 

Manner,  taken  with  the  (in  the  act).  Love's  Labour's  Lost,  i.  1 , 
L  Henry  IV.,  ii.  4- 

Manner,  born  to  the,  Hamlet,  i.  4.  The  persistent  miswriting  of 
this  word  in  the  familiar  quotation  (making  it  manor)  arises  from  a 
neglect  to  consider  the  context,  and  also  from  ignoring  the  fact  that 
Hamlet  was  born,  not  to  a  manor,  but  to  a  whole  kingdom. 

Manners,  of  the  court,  in  the  country,  As  You  Like  It,  Hi.  2 ; 
rude.  Twelfth  Night,  iv.  1 ;  defect  of,  I.  Henry  IV.,  Hi.  1. 

Manningtree  ox,  /.  Henry  IV.,  ii.  4-  Manningtree  was  a 
place  in  Essex,  noted  for  fairs,  where  probably  an  ox  had  been 
roasted  whole. 

Mannishness,  in  a  woman,  Troilus  and  Cressida,  Hi.  3. 

Mantle,  a  magic.  The  Tempest,  i.  2. 

Mantua,  a  city  in  northern  Italy,  scene  of  Romeo  and  Juliet,  v.  1. 

Mantuan,  good  old,  Love's  Labour's  Lost,  iv.  2.  Battista  Spag- 
nolus  (1443-1516),  a  writer  of  Latin  verse. 

Many,  converging  in  one,  Henry  V.,  i.  2. 

Map,  a  new,  with  the  Indies,  Twelfth  Night,  Hi.  2.  "  A  map  to 
accompany  Linschoten's  'Voyage,'  published  in  England  in  1598, 
the  first  in  which  the  eastern  islands  were  shown." 

Marcellus,  an  officer  in  Hamlet,  introduced  in  i.  1.  He  was  a 
friend  of  Hamlet,  and  to  him  the  ghost  appeared  before  Horatio  or 
Hamlet  saw  it.  In  the  interpretation  of  the  characters  of  the  play 
alluded  to  under  the  name  of  the  play,  the  character  oi  Marcellus  is 
thought  to  be  meant  for  that  of  Sir  Edward  Dyer,  friend  of  Sir 
Philip  Sidney.     See  under  the  name  of  the  play. 

March,  Earl  of.    See  Mortimer  and  Edward  IV. 

March,  the  Ides  of,  the  15th,  Julius  Ccesar,  i.  2 ;  iv.  3  ;  v.  1. 

Marcians,  the  house  of  the,  Coriolanus,  ii.  3. 

Marcius,  Caius,  afterward  Coriolanus,  q.  v. 

Marcius,  Young,  son  of  Coriolanus,  introduced  in  v.  3  of  the 
drama  :  discussed  in  i.  3. 

Marcus  Andronicus,  character  in  Titus  Andronicus,  brother 
of  Titus.  He  enters  in  i.  1,  where  he  announces  the  choice  of  Titus 
as  emperor ;  his  grief  and  generosity,  ii.  4  or  5  ;  Hi.  1. 


INDEX  TO  SHAKSPERE'S  WORKS.'  211 

Mardian,  an  attendant  of  Cleopatra  in  Antony  mid  Cleopatra, 
introduced  in  i.  5. 

Margarelon,  Priam's  natural  son,  introduced  in  Troilus  and 
Or  ess  i  da,  v.  8. 

Margaret,  a  gentlewoman  attending  on  Hero  in  Much  Ado 
about  Nothing,  introduced  in  ii.  1,  who  is  mistaken  by  the  watching 
prince  and  Claudio  for  Hero  while  she  is  talking  to  Borachio  froni 
the  chamber-window  of  her  mistress. 

Margaret  of  Anjou,  queen  of  Henry  VI.,  and  daughter  cf 
Regnier  (Rene),  King  of  Naples,  Sicily,  and  Jerusalem,  character  in 
the  three  parts  of  Henry  VI.  and  in  Richard  III.,  first  appearing  in 
I.  Henry  VI.,  v.  3,  where  Suffolk  has  captured  and  fallen  in  love 
with  her,  and  forms  the  plan  of  marrying  her  to  Henry  VI.  The 
betrothal  follows  in  v.  5.  Her  contempt  for  the  king  is  expressed 
in  the  second  part,  i.  3,  as  well  as  her  jealousy  of  the  Duchess  of 
Gloucester,  to  whom  she  gives  in  this  scene  a  box  on  the  ear ;  her 
affection  for  Suffolk,  Hi.  2.  In  the  third  part,  i.  1,  she  resolves  to 
raise  an  army,  in  her  wrath  at  Henry  for  disinlieriting  their  son. 
She  defeated  the  Yorkists  at  Wakefield,  i.  3-5,  where  York  was 
slain,  but  suffered  defeat  at  Mortimer's  Cross,  Towton,  ii.  3-6,  Bar- 
net,  V.  2,  S,  and  lastly  at  Tewksbury,  v.  4, 5,  where  her  son  was  killed. 
The  Margaret  of  the  play  is  coarse,  fierce,  revengeful,  unprincipled. 
But  her  love  for  Suffolk  is  not  in  history,  neither  is  there  sufiicient 
evidence  that  she  had  a  hand  in  Gloucester's  death,  nor  any  that  she 
stabbed  York.  She  was  confined  in  the  Tower  from  1471  to  1475, 
when  she  was  ransomed  by  Louis  XL,  and  lived  in  France  till  her 
death  in  1482.  It  is  therefore  contrary  to  history  to  introduce  her  in 
the  reign  of  Richard,  which  began  in  1483;  but  her  presence  is 
dramatically  effective,  as  she  appears  only  to  curse  and  watch  with 
greedy  eyes  for  the  fulfilment  of  her  curses,  Richard  III.,  i.  3  ;  iv.  If.. 

Margery  Jourdain.     See  Jourdain. 

Maria,  one  of  the  ladies  attending  on  the  princess  in  Love's 
Labour's  Lost,  first  appears  in  ii.  1.   . 

Maria,  Olivia's  waiting-maid  in  Twelfth  Night,  introduced  in  i. 
3,  a  keen,  shrewd,  witty  woman,  who  captures  Sir  Toby  Belch 
through  her  cleverness  in  putting  up  the  practical  joke  on  Mai  vol  io. 

Marian,  Maid,  I.  Henry  IV,  Hi.  3.  The  companion  of  Robin 
Hood,  and  a  leading  character  in  the  morris-dance,  where  the  part 
was  generally  taken  by  a  man.  Hence  a  name  for  a  masculine 
woman. 

Mariana,  a  character  in  Measure  for  Measure,  first  mentioned 


21 S  INDEX  TO  SHAKSPERE'S  WORKS. 

in  iii.  1,  introduced  in  iv.  1,  at  "  the  moated  grange  at  St.  Luke's," 
;after  she  has  been  betrothed  to  Angelo  and  deserted  by  him — a 
pitiable  character.  In  the  original  story,  the  part  she  takes  in  the 
rplay  was  united  with  that  of  Isabella. 

Mariana,  an  unimportant  character  in  AlVs  Well  that  E/icl-> 
Well,  ill.  5. 

Marigold  (sunflower),  A  Winter'' s  Tale,  iv.  3  or  4. 

Marina,  daughter  of  Pericles  and  Thaisa,  introduced  in  the 
chorus  of  the  third  act  of  Pericles  as  an  infant ;  left  at  Tharsus,  iii. 
S;  plot  against  her,  prologue  and  first  scene  of  Act  iv;  in  Mitylene, 
iv.  2  ov  3,6 ;  her  epitaph,  iv.  4  ;  her  accomplishments,  prologue  to 
Act  v. ;  meets  her  father,  v.  1 ;  betrothed  to  Lysimachus,  v.  1  or  2. 

''  She  is  indeed  a  nature  that  appears  capable  of  remaining  un- 
sullied amid  the  impurest,  and,  as  her  persecutor  says,  '  of  making 
a  puritan  of  the  devil.' " — Gervinus. 

Marjoram,  Sonnet  xcix. 

Mark,  God  save  the,  Romeo  and  Juliet,  iii.  2,  and  elsewhere. 
The  meaning  is  doubtful.  It  has  been  suggested  that  mark  may 
mean  omen — save  from  the  disaster  threatened.  Another  sugges- 
tion is  that  it  means  the  cross,  the  mark  of  the  cross. 

Mark  Antony,  his  genius  rebuked  by  Caesar,  Macbeth,  iii.  1. 
See  Antonius. 

Market,  the,  ended,  Lovers  Lahour's  Lost,  iii.  1.  Alluding  to 
the  proverb,  "  Three  women  and  a  goose  make  a  market." 

Marie,  a  French  earl,  mentioned  in  Henry  V.,  iv.  8. 

Marlowe,  Christopher  (born  in  the  same  year  with  Shakspere, 
1564,  died  in  1593),  quoted,  Merry  Wives  of  Windsor,  iii.  1 ;  As  You 
Like  It,  iii.  5.    See  Authorship  and  Passionate  Pilgrim,  The. 

Marmoset,  the,  The  Tempest,  ii.  2. 

Marriage(s),  rite  of.  The  Tempest,  iv.  1 ;  v.  1 ;  proposals  of, 
Merry  Wives  of  Windsor,  i.  1 ;  mercenary  motives  for,  Merry  Wives 
of  Windsor,  Hi.  2,  4.;  without  love.  Merry  Wives  of  Windsor,  v.  5, 
near  the  end ;  railings  against,  JIuch  Ado  about  Nothing,  i.  3 ;  H. 
1,  3;  V.  4;  goes  by  destiny,  3Ier chant  of  Venice,  ii.  9;  As  You  Like 
It,  Hi.  3 ;  coldness  in.  As  You  Like  It,  iv.  1 ;  a  world-without-end 
bargain,  Love's  Labour's  Lost,  iv.  3 ;  a  mad.  Taming  of  the  Shrew, 
Hi.  2 ;  disparity  of  years  in.  Twelfth  Night,  ii.  4;  reasons  for,  AWs 
Well  that  Ends  Well,  i.  3;  ofeer  of,  from  a  lady,  AlVs  Well  that  Ends 
Well,  ii.  3 ;  a  distasteful,  AlFs  Well  thai  Ends  Well,  ii.  3,  end;  un- 
faithfulness in,  A  Winter's  Tale,  i.  2  ;  a.  father's  counsel  concerning, 
A  Winter's  Tale,  iv.  3 ;  second,  A  Winter's  Tale,  v.  1 ;  treaty  of, 


INDEX  TO  SHAKSPERE'S    WORKS.  219 

King  John,  ii.  1  or  2 ;  promise  of,  II.  Henry  IV.,  ii.  1 ;  God  the 
best  maker  of,  Henry  V.,  v.;  contract  of,  /.  Henry  VI.,  v.  1,  5 ; 
proposed,  I.  Henry  VI.,  v.  3 ;  forced,  I.  Henry  VI.,  v.  5 ;  by  proxy, 
II.  Henry  VI.,  i.  1 ;  hasty,  ///.  Henry  VI,  iv.  1 ;  with  a  sister-in- 
law,  Henry  VIII.,  ii.  4 ;  of  Romeo  and  Juliet,  ii.  6 ;  proposed,  Ro- 
meo and  Juliet,  Hi.  5 ;  an  abhorred,  Romeo  and  Juliet,  iv.  i ;  of  a 
newly-made  widow,  Hamlet,  i.  2 ;  state  considerations  in,  Hamlet,  i. 
3;  no  more,  to  he,  Hamlet,  Hi.  1;  QQQondi,  Hamlet,  Hi.  2,  player 
queen ;  motives  in.  King  Lear,  i.  1 ;  justification  of  a  secret,  Othello, 
i.  3 ;  of  Antony  and  Octavia,  Antony  and  Cleopatra,  ii.  2,  6 ;  of 
Imogen,  Cymbeline,  i.  1 ;  urged.  Sonnets  i.-xvii.;  of  true  minds, 
Soymet  cxvi ;  ceremony  of.  Twelfth  Night,  v.  1 ;  hands,  not  hearts, 
Othello,  Hi.  4. 

Married  man,  Benedick  the.  Much  Ado  about  Nothing,  i.  1; 
V.  1. 

Marry,  an  exclamation  used  in  numberless  cases,  said  to  be  a 
corruption  of  Mary. 

Marry-trap,  Merry  Wives  of  Windsor,  i.  1.  Hudson  says  it 
seems  to  have  been  a  word  of  triumph  in  seeing  one  caught  in  his 
own  snare. 

Mars,  of  malcontents,  Merry  Wives  of  Windsor,  i.  3,  end; 
novices  of,  AlVs  Well  that  Ends  Well,  ii.  1;  the  file  of,  AlVs  Well 
that  Ends  Well,  Hi.  3  ;  fear  of,  AlVs  Well  that  E?ids  Well,  iv.  1;  in 
swaddling-clothes,  I.  Henry  IV.,  Hi.  2 ;  drave,  to  faction,  Troilns 
and  Cressida,  Hi.  3  ;  invoked,  Coriolanus,  i.  4 ;  an  eye  like,  Hamlet, 
Hi.  4. ;  in  love,  Venus  and  Adonis,  I.  98.    The  Eoman  god  of  war. 

Mars  (planet),  born  under,  AlVs  Well  that  Ends  Well,  i.  1 ;  his 
true  moving,  /.  Henry  VI.,  i.  2.  The  irregularities  in  the  move- 
ments of  the  planet  Mars,  consequent  on  the  eccentricity  of  his  or- 
bit, were  puzzling  to  astronomers  until  Kepler's  "  New  Astronomy ; 
or,  Commentaries  on  the  Motions  of  Mars  "  appeared  in  1609. 

Marseilles,  France,  the  scene  of  a  part  of  AlVs  Well  that  Ends 
Well. 

Marshal,  the  lord,  in  Richard  II,  i.  3,  was  the  Duke  of  Surrey, 
who  temporarily  filled  the  place,  the  office  being  held  by  Norfolk, 
one  of  the  combatants. 

Marshalsea,  prison  in  Southwark,  Henry  VIII,  v.  4. 

Mart  (bargain),  Hamlet,  i.  1. 

Martext,  Sir  Oliver,  a  vicar  in  As  Yon  Like  It,  determined  that 
"  ne'er  a  fantastical  knave  of  them  all  shall  flout  me  out  of  my  call- 
ing."    For  the  use  of  the  title  Sir,  see  under  Evans. 


220  INDEX  TO  SHAKSPEBE'S  WORKS. 

Martin,  St.,  summer  of,  I.  Henry  F7.,  i.  2.  Fair  weather  in 
late  autumn  —Indian  summer. 

Martins,  character  in  Titus  Andronicus,  son  of  Titus,  introduced 
in  i.  1  or  2,  is  taken  for  the  murderer  of  Bassianus,  n.  or  4;  exe- 
cuted, Hi.  1. 

Martlemas  (Martinmas,  November  11th),  II.  Henry  IV.,  iu  2, 
Applied  to  an  old  man  given  to  gaiety,  because  it  was  the  time  of 
St.  Martin's  or  Indian  summer. 

Martlet,  the  temple-haunting,  chooses  delicate  air,  Macbeth^  i, 
6  ;  builds  on  the  outward  wall.  Merchant  of  Venice-  ii.  9. 

"JaruUns,  one  of  the  tribunes  in  Julius  Ccesar-  first  appears  in 
i.  1,  where  he  rebukes  the  people  for  forgetting  Pompey.  He  and 
Flavius  tore  the  scarfs  and  badges  from  Caesar's  images,  and  were 
put  to  silence,  i.  2. 

Mary,  Princess,  afterward  queen  (1553-'58),  Henry  VIILy  iv.  2. 

Mary,  the  Virgin,  Richard  II.,  ii.  1 ;  Henry  VIII.,  v.  2» 

JilSijry,  Q,ueen  of  Scots.     See  Maidenhood. 

Mask(s),  sun-expelling.  Two  Gentlemen  of  Verona,  iv.  4 ;  black, 
Measure  for  Measure,  ii.  4.;  Romeo  and  Juliet,  i.  1.  They  were 
worn  by  gentlewomen  to  protect  their  faces  from  the  sun  and  at  the 
theatre. 

Masque,  a,  Timon  of  Athens,  i.  2. 

Masquerades,  Much  Ado  about  Nothing,  ii.  1 ;  Love's  Lahoui'*s 
Lost,  V.  2 ;  Romeo  and  Juliet,  i.  4,  5  ;  Merchant  of  Venice,  ii.  6  ; 
Henry  VIII.,  i.  4. 

Mass,  evening,  Romeo  and  Juliet,  iv.  L 

Master  and  men,  influence  of,  on  one  another,  II  Henry  IV.y 
V.  1,  "  It  is  a  wonderful  thing,"  etc. 

Master-gunner,  of  Orleans,  and  his  son,  characters  in  I.  Hen- 
ry VI.,  i.  4- 

Masters,  all  cannot  be,  Othello,  i.  1. 

Match,  set  a  (arranged  an  expedition  ?),  /.  Henry  IV.,  i.  2. 

Mated  (bewildered),  Comedy  of  Errors,  Hi.  2 ;  v.  1 ;  my  mind 
has,  Macbeth,  v.  1. 

Material  fool,  a.  As  You  Lilce  It,  Hi.  3.  A  fool  with  matter  in 
him,  or  a  fool  in  what  is  material  or  essential. 

Mathematics,  Taming  of  the  Shrew,  i.  1. 

Matron,  evil  passion  in  a,  Hamlet,  Hi.  4. 

Maund  (a  small  basket),  Lover's  Complaint,  I.  36. 

'S/Lq^y,  as  full  of  spirit  as  the  month  of,  I.  Henry  IV.,  iv.  1 ;  of 
life,  fallen  into  the  sere  the  yellow  leaf,  Macbeth,  v.  3 ;  of  youth. 


INDEX  TO  SHAKSPERE'S  WORKS.  221 

Henry  V.,  i.  2;  allusions  to  the  sports  of,  Midsummer-Nighfs 
Dream,  i!  1 ;  iv.  1;  Twelfth  Night,  Hi,  4;  ^^^'s  ^eZZ  that  Ends 
Well,  a.  2  ;  Henry  VIIL,  v.  3. 

Mayor  of  London,  in  L  Henry  VL,  first  appears  in  i.  3.  His 
name  was  John  Coventry. 

Mayor  of  London,  character  in  Richard  III.,  first  appears  in 
Hi.  1.  Sir  Edward  Shaw,  brother  of  the  Doctor  Shaw  that  is  men 
tioned  in  Hi.  5. 

Mayor  of  London,  Henry  VIIL,  iv.  1;  v.  4.    Sir  Stephen  Pea- 

cocke. 

Mayors  of  York,  Coventry,  and  St.  Alban's.  See  York,  Cov- 
ENTRY,  and  St.  Alban's. 

Mean,  advantage  of  being,  in  that  of  fortune,  Merchant  of 
Venice,  i.  2;  Nature  makes  the  mean  that  makes  her  better,  A  Win- 
ter's Tale,  iv.  3. 

Mean  (tenor).  Love's  Lahour's  Lost,  v.  2 ;  A  Winter's  Tale,  iv. 
2  or  3;  Two  Gentlemen  of  Verona,  i.  2. 

Means,  living  beyond  one's,  Merchant  of  Venice,  i.  1 ;  slender, 
11.  Henry  IV.,  i.  2;  too  humble  for  the  mind,  Richard  III., 
iv.  2;  wasted,  Othello,  iv.  2. 

Meagreness,  //.  Henry  IV.,  Hi.  2;  v.  4.    See  Leanness. 

Mealed  (sprinkled).  Measure  for  Measure,  iv.  2. 

Measles  (distemper),  Coriolaims,  Hi.  1. 

Measure,  to  tread  a,  Love's  Labour's  Lost,  v.  2;  As  You  Like  It, 
V.  4.    A  slow,  stately  dance. 

Measure  for  Measure,  first  published  in  1623,  is  referred  to 
the  period  that  produced  the  greater  plays,  Julius  Cmsar,  Hamlet, 
Othello,  Macheth,  and  King  Lear,  and  is  supposed  to  have  been  writ- 
ten about  the  year  1603.  The  plot,  originally  from  a  story  in  the 
"  Hecatommithi "  of  Giraldi  Cinthio,  was  the  foundation  of  a  play, 
"  Promos  and  Cassandra,"  published  in  1578,  by  George  Whetstone, 
who  afterward  translated  the  Italian  story  for  his  "  Heptameron  of 
Civil  Discourses,"  1582.  The  most  notable  change  made  by  Shak= 
spere  m  the  plot  was  the  introduction  of  the  character  of  Mariana, 
thus  doing  away  with  a  repulsive  feature  of  the  old  plot,  the  marry- 
ing of  Isabella  (Cassandra)  to  Angelo  (Promos).  Notwithstanding 
the  repellent  story  and  the  disgusting  nature  of  most  of  the  humour, 
this  is  in  many  respects  a  very  noble  play— in  the  general  tone  of 
thought  in  the  serious  scenes,  the  strength  and  purity  of  Isabella's 
character,  the  subtlety  with  which  Angelo's  is  drawn,  and  the  beauty 
of  single  passages.  The  scene  is  laid  in  Vienna,  at  about  the  year 
15 


222  I^DEX  TO  SHAKSPERE'S  WORKS. 

1485,  the  date  being  fixed  by  the  allusion  to  Corvinus,  King  of  Hun- 
gary, in  i.  2,  who  in  that  year  took  Vienna.  Cinthio  lays  the  scene 
in  Innspruck ;  Whetstone  in  Julio,  Hungary. 

Meats,  influence  of,  on  temper.  Taming  of  the  Shrew,  iv.  1,  S. 
An  old  book,  "  The  Glasse  of  Humours,"  says  that  a  choleric  man 
should  "abstain  from  all  salt,  scorched,  dry  meats,  from  mustard 
and  such  things  as  will  aggravate  his  malignant  humours."  See 
Beef. 

Mecsenas,  character  in  Antony  and  Cleopatra,  introduced  in  w. 
S,  a  friend  of  Caesar. 

Mechanics,  to  wear  the  signs  of  their  trades,  Julius  Ccb- 
sar,  i.  1. 

Medea,  Merchant  of  Venice,  v.  1 ;  11.  Henry  VI.,  v.  2.  Flee- 
ing from  Colchis  with  her  lover  Jason,  she  was  pursued  by  her 
father ;  and  to  gain  time  she  caused  her  little  brother  Absyrtus  to 
be  killed  and  his  limbs  to  be  thrown  on  the  water,  that  her  father, 
in  stopping  to  collect  them,  might  be  detained  long  enough  to  allow 
of  her  escape. 

Meddlers,  Timon  of  Athens,  iv.  3  ;  Hamlet,  Hi.  4  ;  v.  2. 

Meddle  nor  make,  Troilus  and  Cressida,  i.  1. 

Medice,  etc..  Henry  VI.,  ii.  1.     Physician,  heal  thyself. 

Medicine,  theory  and  practice  of,  allusions  to :  lives  consist  of 
the  four  elements.  Twelfth  Night,  ii.  3 ;  bleeding,  Love's  Labour'' s 
Lost,  ii.  1;  Richard  IL,  i.  1;  diagnosis  by  urine.  Two  Gentlemen 
of  Verona,  ii.  1;  Twelfth  Night,  Hi.  4;  IL  Henry  IV.,  i.  2;  31ac- 
heth,  V.  3;  a.  miracle  in,  AlVs  Well  that  Ends  Well,  ii.  3;  read  in 
Galen,  IL  Henry  IV.,  i.  2.  See  under  Arteries,  Blood,  Circula- 
tion OF  THE,  Diseases,  Digestion,  Insanity,  Medicines,  Physicians, 
Poisons,  Surgery. 

Medicine  (physician),  a,  AlVs  Well  that  Ends  Well,  ii.  L 

Medicines :  narcotics,  Othello,  Hi.  3 ;  Antony  and  Cleopatra,  i. 
5 ;  Cymheline,  iv.  2 ;  aqua  vitae,  A  Winter's  Tale,  iv.  3;  Romeo  and 
Juliet,  iv.  5;  sherris,  IL  Henry  IV.,  iv.  3;  balm.  III.  Henry  VL, 
iv.  3 ;  Troilus  and  Cressida,  i.  1;  Timon  of  Athens,  Hi.  5 ;  liquid 
gold,  The  Tempest,  v.  1  (grand  liquor) ;  AlVs  Well  that  Ends  Well, 
V.  3;  II.  Henry  IV,  iv.4;  mummy  (a  medicine  made  from  em- 
balmed bodies),  Othello,  Hi.  4;  eisel  or  vinegar  (to  prevent  con- 
tagion). Sonnet  cxi. ;  recipe  for,  AlVs  Well  that  Ends  Well,  i.  3 ;  H. 
1 ;  plantain-leaf.  Love's  Labour's  Lost,  Hi.  1 ;  Romeo  and  Juliet,  i. 
2;  parmaceti,  7.  Henry  IV.,  i.  3 ;  cobweb,  Midsummer-NighVs, 
Dream,  Hi.  1 ;  flax  and  whites  of  eggs.  King  Lear,  Hi.  7 ;  cathar- 


INDEX   TO  SHAKSPERE'S   WORKS.  223 

cics,  As  You  Like  It,  Hi.  2 ;  Richard  Tl.,  i.  1 ;  Henry  VI,  i.  3; 
Hi.  2 ;  iv.  4;  Coriolcmus,  Hi.  1;  3Iacbeth,  v.  3 ;  Sonnet  cxmii. 

Mediterranean  Sea,  the,  Love's  Labour's  Lost,  v.  1. 

Medlar,  the  true  vii-tue  of  the,  As  You  Like  It,  Hi.  2. 

Meeting,  when  shall  we  three  meet  again,  Ilacbeth,  i.  1.  See 
Welcome. 

Mehercle  (by  Hercules  ?),  Love's  Labour's  Lost,  iv.  2. 

Meiny  (servants),  King  Lear,  ii.  4- 

Melancholy,  kinsman  to  despair,  Comedy  of  Errors,  v.  1 ;  Count 
John's,  Mucli  Ado  about  Nothing,  i.  3 ;  ii.  1;  not  conducive  to  long 
life,  Love's  Labour's  Lost,  v.2  ;  turn,  to  funerals,  Midsummer-Night's 
Dream,  i.  1 ;  out  of  a  song.  As  You  Like  It,  ii.  5 ;  kinds  of.  As  You 
Dike  It,  iv.  1;  nurse  of  frenzy,  Taming  of  the  Shrew,  induction,  2 ; 
trick  of,  All's  Well  that  Ends  Well,  Hi.  2  ;  a,  surly  spirit,  King  John, 
Hi.  3;  fashion  of,  King  John,  iv.  1;  similes  for,  I.  Henry  IV.,  i.  2; 
cursed,/.  Henry  IV.,  ii.  3;  effect  of,  Hamlet,  ii.  2 ;  Hi.  1;  power 
of,  Cymbeline,  iv.  2 ;  constant,  Pericles,  i.  2. 

Melford,  commons  of,  //.  Henry  VI.,  i.  3. 

Melun,  a  French  lord  in  King  John,  introduced  in  v.  2.  He  is 
said  by  Matthew  Paris  to  have  disclosed  to  some  of  the  English 
barons  before  his  death,  which  took  place  in  London,  that  Louis 
and  sixteen  earls  and  barons  of  France  had  secretly  sworn,  that  if 
Louis  should  conquer  England  and  be  crowned  king,  all  the  Eng- 
lish nobility  should  be  killed,  banished,  or  imprisoned  as  traitors  and 
rebels,  he  himself  being  one  of  the  sixteen.  The  dauphin's  oath  is 
in  the  old  play. 

Memory,  made  a  sinner.  The  Tempest,  i.  2  ;  warder  of  the  brain, 
Macbeth,  i.  7 ;  of  things  precious,  Macbeth,  iv.  3 ;  devoted  to  one 
subject,  Hamlet,  i.  5;  of  old  woes,  Sonnet  xxx. ;  of  the  beloved, 
Sonnet  cxxii. ;  ventricle  of  the,  see  Ventricle. 

Memory  (memorial),  Coriolanus,  v.  1. 

Memphis,  pyramid  of,  /.  Henry  VI.,  z.  6. 

Men,  a  bill  for  putting  down.  Merry  Wives  of  Windsor,  ii.  1  ; 
supremacy  of.  Comedy  of  Errors,  ii.  1 ;  why  scanted  of  hair.  Comedy 
of  Errors,  ii.  2  ;  what  they  dare  do,  Much  Ado  about  Nothing,  iv.  1  ; 
should  be  thankful  not  to  be  beasts,  Love's  Labour's  Lost,  iv.  2  ; 
girls  dressed  like,  As  You  Like  It,  i.  3 ;  more  fickle  than  women. 
Twelfth  Night,  ii.  4  ;  not  three  good,  unhanged,  I.  Henry  IV.,  ii. 
4;  no  faith  in,  Romeo  and  Juliet,  Hi.  2 ;  summer-birds,  Timon  of 
Athens,  Hi.  6 ;  ranks  of,  Macbeth,  Hi.  1 ;  inconstancy  of,  Othello, 
Hi.  4,  "  'Tis  not  a  year  or  two,"  etc. ;  marble  minds  of,  Lucrece,  I, 


224:  INDEX  TO  SHAKSPERE'S  WORKS. 

l2Jf.O  ;  old,  of  less  truth  than  tongiie,  Sonnet  xvii  ;  best  are  moulded 
out  of  faults,  Measure  for  Measure,  v.  1 ;  are  as  the  time  is,  KhiQ 
Lear,  v.  3.    See  Man. 

Menaphon,  Duke,  mentioned  in  Comedy  of  Errors,  v.  L 

Menas,  character  in  Aiitony  and  Cleopatra,  introduced  in  ii.  1, 
a  friend  of  Pom^Dey,  a  pirate. 

Menecrates,  character  in  Antony  and  Cleopatra,  introduced  in 
ii.  1,  a  friend  of  Pompey,  a  pirate. 

Menelaus,  brother  of  Agamemnon,  character  in  Troilus  and 
Cressida,  introduced  in  i.  3,  the  husband  of  Helen.  Spoken  of  also 
in  ///.  Henry  VI.,  ii.  2. 

Menenius  Agrippa,  character  in  Coriolanus,  appears  in  i.  1, 
as  an  ambassador  from  the  patricians  to  the  people ;  description  of 
himself,  ii.  1 ;  refused,  v.  2.  In  Plutarch,  he  is  said  to  have  been 
the  pleasantest  old  man  in  the  senate,  but  nothing  further  is  given 
of  him  except  the  fact  of  his  telling  the  fable  in  i.  1.  He  is  an  ad- 
miring friend  of  Coriolanus,  a  fluent  talker,  witty,  good-humoured, 
discreet,  and  persuasive. 

Menteith,  Earl  of,  /.  Heiiry  IV.,  i.  1. 

Menteith,  a  thane  of  Scotland,  character  in  MacbefJi,  appears 
in  V.  2,  4,  and  7. 

Me  perdonato,  Taming  of  the  Shreiv,  i.  1.  I  being  pardoned, 
or  perdonate,  pardon  me. 

Mephistopheles,  Merry  Wives  of  Windsor,  i.  L  Here  used 
for  an  ugly  fellow. 

Me  pompse,  etc.,  Pericles,  ii.  2.    Glory  leads  me  on. 

Mercade,  a  lord  attending  on  the  princess  in  Lovers  Lahour's 
Lost,  appears  only  in  the  last  scene. 

Mercatante  (merchant).  Taming  of  the  Shrew,  iv.  2. 

Mercatio,  the  rich,  mentioned  in  Two  Oentlemen  of  Verona,  i. 
2,  as  one  of  Julia's  suitors. 

Merchant,  a,  character  in  the  Comedy  of  Errors,  introduced 
in  i.  2,  a  friend  to  Antipholus  of  Syracuse. 

Merchant,  a,  character  in  TimoJi  of  Athens,  i.  1,  where  he  is 
seeking  patronage. 

Merchant  of  Venice,  the,  a  comedy  known  to  have  been  acted 
before  1598,  and  probably  the  same  as  "  The  Venesyon  Comedy," 
acted  August  25,  1594.  The  internal  indications  are  that  it  was 
written  as  early  as  the  latter  year,  though  the  date  has  been  placed 
as  late  as  1596.  It  was  first  published  in  1600.  No  earlier  tale  or 
play  is  now  known  that  unites  the  two  stories  contained  in  this 


INDEX  TO  SHAKSFERE'S    WORKS,  225 

play— that  of  the  pound  of  flesh  and  that  of  the  three  caskets.  But 
one  Stephen  Gosson,  who  published  his  "  School  of  Abuse  "  in  1579, 
mentions  a  play,  "  The  Jew,"  which  represented  ''  the  greediness  of 
worldly  chusers,  and  bloody  minds  of  usurers."  So  that  Shakspere 
may  have  taken  his  plot  directly  from  this  forgotten  drama.  Both 
of  the  stories  are  very  old.  That  of  the  pound  of  flesh,  Mr.  Collier 
says,  is  unquestionably  of  Oriental  origin.  It  was  told  by  Giovanni 
Fiorentino  in  1378  in  a  collection  of  tales,  "  II  Pecorone,"  the  cir-  ■ 
cumstances  very  much  resembling  those  of  the  play ;  in  the  "  Ora- 
tor," by  Alexander  Silvayn,  translated  into  English  in  1598,  and  in 
some  old  ballads,  "  The  Northern  Lord  "  and  "  Gernutus,  the  Jew  of 
Venice."  The  story  of  the  three  caskets  is  in  the  Greek  romance  of 
"Barlaam  and  Josephat,"  about  800;  and  was  again  told  in  the 
"  Gesta  Romanorum,"  translated  in  1577,  where  the  story  is  entitled 
"  Ancelmus  the  Emperour."  The  time  of  action  is  Shakspere's  own 
day ;  the  scene,  Venice  and  Portia's  house  at  Belmont,  somewhere 
on  the  Continent,  probably.  The  name  Belmont  is  the  same  used  in 
the  story  from  "  II  Pecorone." 

Mercury,  god  of  lying,  commerce,  and  thievery,  and  messenger 
of  Jupiter,  Twelfth  Night,  i.  5;  King  John,  iv.  2;  L  Henry  IV.,  iv. 
1;  Troilus  and  Cressida,  ii.  3 ;  Hamlet,  Hi.  4;  ^    Winter's  Tale, 
.  iv.  2  ;  Henry  V.,  ii.,  chorus  ;  Richard  III.,  ii.  1. 

Mercutio,  friend  of  Romeo,  first  appears  in  i.  4.  In  Hi.  1  he  is 
slain  by  Tybalt,  who  has  been  seeking  a  quarrel  with  Romeo.  See 
Romeo. 

"Wit  ever  wakeful,  fancy  busy  and  procreative  as  an  insect, 
courage,  an  easy  mind  that,  without  cares  of  its  own,  is  at  once  dis- 
posed to  laugh  away  those  of  others,  and  yet  to  be  interested  m  them 
—these  and  all  congenial  qualities,  melting  into  the  common  copula 
of  them  all,  the  man  of  rank  and  the  gentleman,  with  all  its  excel- 
lences and  its  weaknesses,  constitute  the  character  of  Mercutio  !  — 
Coleridge. 

Mercy,  assaulted  by  prayer.  The  Tempest,  epilogue;  obligation 
to,  The  Tempest,  v.  1,  "And  shall  not  myself,"  etc.;  mistaken. 
Measure  for  Pleasure,  ii.  1,  "  Mercy  is  not  itself,"  etc. ;  becomes  the 
great— of  Heaven,  Measure  for  Pleasure,  ii.  2;  devilish.  Measure  for 
Measure,  Hi.  1 ;  when  made  by  vice.  Measure  for  Measure,  iv.  2  ; 
recommended  to  Shylock,  3Ierchant  of  Venice,  Hi.  3;  iv.  1;  the 
better  part  made.  As  You  Like  It,  Hi.  1 ;  beyond  the  infinite  reach 
of,  King  John,  iv.  3;  for  small  and  great  offences,  Henry  V.,  ii.  2 ; 
a  vice  of,  Troilus  and  Cressida,  v.  3 ;  at  differences  with  honour. 
Coriolanus,  v.  3;  nobility's  badge,  Titus  Androuicus,  i.  1  or  2 :  to 


226  INDEX  TO  SHAKSPERE'S  WORKS. 

murderers,  Romeo  and  Juliet,  Hi.  1,  end ;  emboldens  sin,  Timon  of 
Athens,  Hi.  5  ;  show  no,  Timon  of  Athens,  iv.  3,  "  That,  by  killing,'"' 
etc. ;  whereto  serves,  but  to  confront  the  visage  of  offence,  Hamlet, 
Hi.  3 ;  to  the  falling,  Henry  VIII.,  Hi.  2. 

Mered  (limited),  Antony  and  Cleopatra,  Hi.  10  or  12. 

Merit,  honours  not  purchased  by.  Merchant  of  Venice,  H.  9; 
value  without,  Troilus  and  Cressida,  H.  2 ;  often  overlooked,  on  ac- 
count of  one  defect,  Hamlet,  i.4;  seldom  justly  attributed.  All's 
Well  that  Ends  Well,  Hi.  6  ;  men  of,  sought  after,  //.  Henry  IV., 
ii.  4 ;  far  beyond  recompense,  Macbeth,  i.  4. 

Merlin,  prophecies  of,  /.  Henry  1 F.,  Hi.  1 ;  King  Lear,  Hi.  2, 
end.    See  Prophecies. 

Mermaid,  music  of  a.  Comedy  of  Errors,  Hi.  2 ;  Midsummer- 
Nighfs  Dream,  H.  1 ;  I^I.  Henry  VI.,  Hi.  2  ;  Hamlet,  iv.  7  ;  Ve7ius 
and  Adonis,  I.  4^9. 

Merops,  son  of.  Two  Gentlemen  of  Verona,  Hi.  1.     Phaethon. 

Merriman,  a  hunting-dog.  Taming  of  the  Shrew,  induction,  1. 

Merry  "Wives  of  "Windsor,  The,  a  comedy  written  as  we  have 
it  probably  between  1598  and  1601,  though  an  allusion  in  iv.  3  has  led 
some  to  suppose  that  it  was  written  in  or  soon  after  1592,  because 
then  free  post-horses  were  given,  by  order  of  Lord  Howard,  to  a 
German  duke  who  passed  through  Windsor.  There  is  no  reason, 
however,  for  supposing  that  the  event  might  not  have  been  alluded 
to  several  years  after  its  occurrence.  A  plausible  explanation  is 
that  the  play,  in  an  early  form  which  has  come  down  to  us,  was  writ- 
ten at  the  former  date ;  while  the  amended  form  was  later,  perhaps 
even  after  the  accession  of  James  L  (See  Knights.)  One  John 
Dennis,  who  remodelled  the  play  in  1702  for  the  stage,  says  in  the 
dedication  that  it  was  written  in  fourteen  days  at  the  request  of 
Queen  Elizabeth ;  and  another  writer  adds  that  it  was  because  she 
wished  to  see  Falstaff  as  a  lover.  The  plot  is  not  knoAvn  to  have 
been  drawn  from  any  other,  though  some  of  the  incidents  had  been 
used  before.  That  between  Falstaff  and  Ford  in  disguise  is  said  to 
be  in  Fiorentino's  "  Art  of  Loving,"  and  in  Straparola's  "  Ring." 
The  time  is  probably  before  the  death  of  Henry  IV.,  since  Falstaff  is 
spoken  of  as  being  still  in  favour  at  court.  There  has  been  consid- 
erable controversy,  both  as  to  the  time  when  this  play  was  written, 
and  as  to  its  place  in  the  series  that  include  the  characters  of  Fal- 
staff, Mrs.  Quickly,  Pistol,  Nym,  and  Bardolph.  Difficulties  are  met 
with  under  every  supposition  possible.  Some,  but  few,  have  sup- 
posed the  Falstaff  of  the  Merry  Wives  of  Windsor  not  to  be  the 


INDEX  TO  SHAKSPERE'S  WORKS.  227 

same  as  the  Falstaff  of  the  historical  plays,  who,  as  is  well  known, 
was  at  first  called  Oldcastle.  There  is  more  reason  to  suppose  that 
there  are  two  Mistress  Quicklys.  The  question  is  of  little  impor- 
tance. 

Messes  (grades),  A  Winter's  Tale,  i.  2. 

Messala,  a  friend  of  Brutus  and  Cassius  in  Julius  Ccesar,  first 
appears  in  iv.  3,  bringing  news  of  Portia's  death. 
Messaline  (Mitylene  f),  Twelfth  NigM,  ii.  1, 
Messenger,  a,  is  what  he  knows,  Antony  and  Cleopatra,  ii.  5 ; 
of  ill  news,  The  Tempest,  ii.  1;  II.  Eenry  IV.,  i.  1 ;  Antony  and 
Cleopatra,  ii.  5;  Macbeth,  v.  5  ;  of  good  news,  Merchant  of  Venice, 
ii.  9  ;  I.  Eenry  IV.,  i.  1. 

Messina,  Sicily,  scene  of  Much  Ado  about  Nothing,  and  a  part  of 
Antony  and  aeopafra.     Pompey  had  a  house  there,  ii.  1. 
Metaphysical  (supernatural),  3Iacbeth,  i.  5. 
Metaphysics,  Taming  of  the  Shrew,  i.  1. 

Meteors,  his  heart's,  Comedy  of  Errors,  iv.  2.  Allusion  to  me- 
teors imagined  to  look  like  armies  meeting;  ominous,  Richard  II., 
ii.  4;  J.  Eenry  IV.,  ii.  W,  over  a  ship,  The  Tempest,  I  2,  "  To  every 
article,"  etc. ;  Romeo  and  Juliet,  Hi.  5  ;  King  John,  v.  2. 

Metellus  Cimber,  one  of  the  conspirators  in  Julius  CcBsar,  first 
appears  in  ii.  1.  His  suit  to  Ca3sar  for  the  recall  of  his  banished 
brother,  Hi.  1,  was  made  the  occasion  for  the  assassins  to  gather 
about  Caesar. 

Mettle,  of  the  English,  Eenry  V.,  Hi.  5  ;  undaunted,  Macbeth, 
i.  7  ;  of  a  king,  King  John,  ii.  2. 

Michael,  Sir,  a  friend  of  the  archbishop  in  L  Eenry  IV.,  ap- 
pears only  in  iv.  J^. 

Michael,  one  of  the  followers  of  Jack  Cade  in  his  insurrection, 
IL  Eenry  VI,  iv.  2,  3. 

Michaelmas,  Merry  Wives  of  Windsor,  i.  1 ;   I.  Eenry  IV, 
ii.  4.    The  feast  of  St.  Michael,  September  29th.     The  custom  of 
eating  roast  goose  on  that  day  was  at  least  as  early  as  the  fifteenth 
century.    It  was  also  the  day  for  choosing  civil  magistrates. 
Micher  (truant),  I.  Eenry  IV.,  ii.  4. 
Miching  mallecho  (sly  mischief),  Eamlet,  Hi.  2. 
Middle-earth  (the  natural  world),  Jlerry  Wives  of  Windsor,  v.  5. 
Midnight,  almost  fairy-time,  Midsummer-Night's  Bream,  v.  1; 
business  at,  Eenry  VIII,  v.  1;  the  witching  time  of  night,  Eamlet, 
Hi.  2 ;  going  to  bed  after,  Ticelfth  Night,  ii.  3. 
Midsummer  madness.  Twelfth  Night,  Hi.  4. 


228  INDEX  TO  SHAKSPERE'S  WORKS. 

Midsummer-Night's  Dream.,  A,  a  comedy  in  which  three  sets 
of  actors  appear — the  Duke  of  Athens  and  his  friends,  the  Athenian 
handicraftsmen,  and  the  fairy-people.  It  was  first  published  in 
1600,  but  was  mentioned  in  1598,  and  is  thought  to  have  been  writ- 
ten between  1594  and  1598,  and  by  some  authorities  even  as  early  as 
1592.  Possibly  some  other  dramatist  assisted  Shakspere  in  the  scenes 
between  the  lovers.  The  life  of  Theseus  in  Plutarch  may  have 
given  some  suggestions  for  the  play ;  and  for  the  part  of  the  fairies 
some  hints  may  have  been  furnished  by  a  little  book  mentioned 
under  Puck.  The  scene  of  the  action  is  ostensibly  Athens,  and  the 
time  three  days,  ending  at  midnight  of  the  1st  of  May ;  but  time 
and  place  are  entirely  disregarded. 

"  The  epilogue  expresses  satisfaction  if  the  spectator  will  regai'd 
the  piece  as  a  dream  :  for  in  a  dream  time  and  locality  are  obliterated ; 
a  certain  twilight  and  dusk  is  spread  over  the  whole.  .  .  .  We  have 
before  said  that  the  piece  appears  designed  to  be  treated  as  a  dream ; 
not  merely  in  outer  form  and  colouring,  but  also  in  inner  significa- 
tion. The  errors  of  that  blind  intoxication  of  the  senses,  which 
form  the  main  point  of  the  play,  appear  to  us  to  be  an  allegorical 
picture  of  the  errors  of  a  life  of  dreams." — Gervinus. 

Mighty,  the,  dead,/.  Henry  VI.,  ii.  2;  Hi.  2 ;  Julius  Cmsar, 
Hi.  1 ;  V.  5  ;  Coriolanus,  v.  5 ;  Antony  and  Cleopatra,  v.  1,  2. 

Milan,  Duke  of,  Prospero,  in  The  Tempest. 

Milan,  Duke  of,  the  father  of  Silvia  in  the  Two  Gentlemen  of 
Verona,  introduced  in  ii.  4. 

Mile-End  Green,  AlVs  Well  that  Ends  Well,  iv.  3 ;  II.  Eenry 
TV.,  Hi.  2.    A  place  for  sports  and  musters. 

Milford-Haven,  Wales,  Cymheline,  Hi.  2 ;  scene  of.  Hi.  4. 

Milk  of  human  kindness,  the,  llacheth,  i.  5. 

Miller,  Yead,  mentioned  in  'Merry  Wives  of  Windsor,  i.  1. 

Milliner,  A  Winter's  Tale,  iv.  3  or  Jf..  Men  were  milliners  in 
Shakspere's  time. 

Mill-sixpences,  Merry  Wives  of  Windsor,  i.  1.  They  were  used 
as  counters. 

Millstones,  wept,  Richard  III.,  i.  3,  4  ;  Troilus  and  Cressida, 
i  2. 

Milo,  Troilus  and  Cressida,  H.  3.  An  athlete  of  Crotona,  a 
Greek  city  of  southern  Italy,  one  of  whose  feats  was  the  carrying  of 
a  living  bull  on  his  shoulders  through  the  race-course  at  Olympia. 
He  was  born  about  520  b.  c,  and  was  therefore  some  hundreds  of 
years  before  the  Trojan  war. 

Mind,  the,  affected  by  food.  Love's  Labour^s  Lost,  i.  1 ;  makes 


INDEX  TO  SHAKSPERE'S   WORKS.  229 

the  body  rich,  Taming  of  the  Shreu\  iv.  3  ;  contempt  for  the  work 
of  the,  Troilus  and  Oressida,  i.  3 ;  tempest  in  the,  King  Lear,  Hi. 
If ;  infected,  diseased,  3Iacbeth,  v.  1,3;  a  noble,  o'erthrown,  Hamlet, 
Hi.  1 ;  no  art  to  find  its  construction  in  the  face,  Macbeth.,  i.  4  ;  fear- 
less, climb  soonest  into  crowns.  III.  Hennj  Yl.,  iv.  7. 

Mine  eye  and  heart  are  at  a  mortal  war,  Sonnet  xlvi. 

Mine  eye  hath  played  the  painter,  Sonnet  xxiv. 

Mineral  (mine),  Hamht,  iv.  1,  or  Hi.  5. 

Minerva,  goddess  of  wisdom.  Taming  of  the  Shrew,  i.  1. 

Mines  (undermines),  As  Yoii  Like  It,  i.  1. 

Minim's  rest,  a.  Merry  Wives  of  Windsor,  i.  3.  A  minim  is  a 
half-note  in  music. 

Minister,  services  of  a  king's,  A  Winter's  Tale,  iv.  1  or  2. 

Minnows,  Love's  Labour's  Lost,  i.  1;  Sicinius  a  Triton  of  the, 
Coriolanus,  Hi.  1. 

Minola.     See  Baptista. 

Minos,  King  of  Crete,  III.  Henry  VI.,  v.  6. 

Minotaurs,  I.  Henry  VI..  v.  3.  The  minotaur  was  a  fabled 
monster  in  Crete,  having  a  human  head  and  the  body  of  a  bull.  It 
roamed  through  a  labyrinth  made  by  Daedalus,  and  was  fed  with  hu- 
man victims. 

Miracle-plays  and  Moralities,  the,  allusions  to.  See  Herod, 
Termagant,  Vice. 

Miracle(s),  past,  All's  Well  that  Ends  Well,  it.  1,  3 ;  Henry 
v.,  i.  1 ;  a  pretended,  II.  Henry  VI.,  ii.  1 ;  thy  life's  a.  King  Lear, 
iv.  6. 

Miranda,  the  heroine  of  The  Tempest,  one  of  the  most  exquisite 
characters  in  the  dramas.  Brought  up  away  from  society  and  with 
no  teacher  but  her  father,  she  is  natural,  unconventional,  but  full  of 
native  grace  and  dignity. 

"  She  is  one  of  those  quiet  natures  whose  mental  worth  is  closed 
as  within  a  bud,  whose  depth  of  character  is  hidden,  like  the  fire  of 
the  diamond,  until  the  occasion  comes  which  strips  off  the  conceal- 
ing husk,  and  reveals  the  richness  and  splendour  of  the  inner  life. 
Reared  in  solitude,  she  is  like  a  blank  leaf  as  regards  all  social  gifts 
and  conventional  accomplishments.  She  is  quiet  and  of  few  words, 
but  her  fancy  is  full  of  inward  life  and  playfulness,  and  her  pure 
soul  uninjured  hj  intercourse  with  mankind."' 

"  I  do  not  know  a  more  wonderful  instance  of  Shakspere's  mas- 
tery in  playing  a  distinctly  rememberable  variety  on  the  same  re- 
mem))ered  air,  than  in  the*  transporting'  love-confessions  of  Romeo 
and  Juliet  and  Ferdinand  and  Miranda.  There  seems  more  passion 
in  the  one  and  more  dignity  in  the  other ;   yet  you  feel  that  the 


230  INDEX  TO  SHAKSPERE'S   WORKS. 

sweet  girlish  lingering  and  busy  movement  of  Juliet,  and  the  calmer 
and  moie  maidenly  fondness  of  Miranda,  might  easily  pass  into  each 
other." — Coleridge. 

Mirth,  a  man  of,  Love's  Labour's  Lost,  ii.  1 ;  tears  of,  Midsum- 
mer-^igMs  Dream,  v.  1 ;  goes  all  the  day,  A  Winter's  Tale,  iv.  2 ; 
rather  have  a  fool  to  make,  As  You  Like  It,  iv.  1 ;  away  from  home, 
Henry  V.,  i.  2 ;  exhortations  to,  Merchant  of  Venice,  i.  1 ;  ii.  2 ; 
Midsummer-Niglifs  Dream,  i.  1 ;  Taming  of  the  Shrew,  inductiori, 
2;  A  Winter's  Tale,  iv.  3;  I.  Henry  IV.,  ii.  Jf.;  Macbeth,  Hi.  4,*  a 
light  heart  lives  long,  Love's  Labour's  Lost,  i.  2;  all,  from  the  crown 
of  the  head  to  the  sole  of  the  foot,  Much  Ado  about  Nothing,  Hi.  2 ; 
of  a  child,  A  Winter's  Tale,  i.  2. 

Misanthrope,  a,  Timon  of  Athens,  iv.  1,  3 ;  v.  2.    See  Cynics. 

Mischief,  swift  to  enter  the  thoughts  of  the  desperate,  Romeo 
and  Juliet,  v.  1;  mourning  past  mischief,  draws  new  mischief  on, 
Othello,  i.  3. 

Misenum,  Italy,  scene  of  a  part  of  Antony  and  Cleopatra. 

Misers,  Henry  V.,  ii.  4  /  like  whales.  Pericles,  ii.  1 ;  gold  of, 
Venus  and  Adonis,  I.  767 ;  Lucrece,  I.  855. 

Miserable,  the,  hope  the  only  medicine  for,  Pleasure  for  Meas- 
ure. Hi.  1. 

Misery,  makes  strange  bedfellows.  The  Tempest,  ii.  2 ;  parts  the 
flux  of  company.  As  You  Like  It,  ii.  1;  willing,  Timon  of  Athens, 
iv.  3 ;  sees  miracles.  King  Lear,  ii.  2 ;  of  one's  betters,  King  Lear, 
Hi.  6,  end;  trodden  on,  Venus  and  Adonis,  I.  707 ;  makes  sport  to 
mock  itself,  Richard  II,  ii.  L    See  also  Adversity,  Misfortune. 

Misfortune,  turned  to  advantage,  I.  Henry  IV.,  iv.  i,  "You 
strain  too  far,"  etc. ;  doomed  to,  Romeo  and  Juliet,  Hi.  3;  friends 
who  desert  in.  King  Lear,  ii.  4;  Timon  of  Athens.  Hi.  1,  3;  ii\ 
2,  3.    See  Adversity,  Woe,  Sorrow. 

Misfortunes,  come  not  singly,  Hamlet,  iv.  5,  7 ;  Pericles,  i.  4- 

Mislike  (dislike),  Merchant  of  Venice,  ii.  1;  II.  Henry  VI,  i.  1. 

Miss  (dispense  with).  The  Tempest,  i.  2. 

Missive  (messenger),  Antony  and  Cleopatra,  ii.  2. 

Mistakes,  a  lark  taken  for  a  bunting.  All's  Well  that  Ends 
Well,  H.  5  ;  a  drunkard  for  a  god.  The  Tempest,  v.  1. 

Mistletoe,  baleful,  Titus  Andronicus,  ii.  3. 

Mistress  (the  jack  at  bowls),  Troilus  and  Cressida,  Hi.  2. 

Mistrust.     See  Doubt,  Suspicion. 

Mithridates,  of  Comagene,  Antony  and  Cleopatra,  Hi.  6. 

Mitylene,  in  Lesbos,  scene  of  a  part  of  Pericles. 


INDEX  TO  SEAKSPERE'S   WORKS,  231 

Mob(s),  a  London,  Henry  VIIL,  v.  4;  Roman,  Coriolanus,  i.  1; 
a.  1;  Hi.  i,  3;  iv.  1,  2,  6;  Antony  and  Cleopatra,  v.  2;  the  fool 
multitude,  Merchant  of  Venice,  ii.  9.  ,      -,   -, 

Mobled,  Hamlet,  ii.  2.  Hastily  dressed,  or,  perhaps,  hooded  or 
muffled.    Mob-cap  is  from  the  same  word.  ^ 

Mockery,  made  serious,  Henry  V.,  i.  2  ;  of  Beatrice,  3Iucli  Ado 
about  Nothing,  Hi.  1;  returned.  Love's  Labour's  Lost,  v.  2;  solemn 
Hamlet,  Hi.  4;  of  a  man  by  his  own  achievements,  Troilus  and 
Cressida,  iv.  2. 

Model  (platform  I),  3Iuch  Ado  about  Nothing,  i.  3. 

Moderation,  Midsummer-Nigh fs  Bream.,  ii.  3,  "  A  surfeit,"  etc. ; 
commended,  Henry  VIIL,  i.  1;  Romeo  and  Juliet,  ii.  6;  Hi.  3; 
Merchant  of  Venice,  i.  2  ;  Othello,  ii.  3.     See  Excess. 

Modem  (trivial  or  ordinary).  As  You  Like  It,  H.  7;  AlVs  V,  ell 
that  Ends  Well,  ii.  3;  Antony  and  Cleopatra,  v.  2;  King  John, 

Hi-  4-  ^     TIT 

Modesty,  may  more  betray  our  sense,  etc..  Measure  for  Pleasure, 

H  2  ■  the  witness  of  excellence.  Much  Ado  about  Nothing,  t*.  3; 

shown  in  the  face,  IIL  Henry  VL,  Hi.  2;  too  great,  Coriolanus,  i. 

9  •  of  a  girl   Othello,  i.  3;  an  excellent  touch  of,  Twelfth  Night,  %i. 

1;  the  crimson  of,  Henry  V.,  v.  2;  of  women  in  men's  apparel,  Two 

Gentlemen  of  Verona,  v.  4  ;  Cymbeline,  Hi.  4. 

Modesty  (moderation),  Taming  of  the  Shrew,  induction,  L 

Modo,  a  fiend,  King  Lear,  Hi.  4;  iv.  1.    See  Mahu. 

Module  (model,  outward  show),  AlVs  Well  that  Ends  Well,  iv.3;. 

King  John,  v.  7.  m  i   ■•  .Tt 

Moe  (more),  A  Winter's  Tale,  i.  2;  v.  2;  (to  mow).  Tempest,  %i.  2. 
Moiety  (portion),  I.  Henry  IV.,  Hi.  1. 
Moldwarp  (mole),  I.  Henry  IV.,  Hi.  L 
Mole,  the  blind,  The  Tempest,  iv.  1;  A  Winter's  Tale,  iv.  o; 

Hamlet,  i.  5.  ...         j. 

Mole(s)  (marks).  Tivelfth  Night,  v.  1;  King  John,  in.  1;  Ham- 
Itt,  i.  4 ;  Cymbeline,  H.  2,  4  ;  v.  5. 

Mome  (fool),  Comedy  of  Errors,  Hi.  1. 

Momentany  (an  old  form  of  momentary),  Midsummer-Night's 

Dream,  i.  1. 

Monarcho,  Love's  Labour's  Lost,  iv.  L  The  nickname  of  an 
Italian,  a  fantastic  character  of  the  time. 

Monarchs,  high-arched  gates  of,  Cymbeline,  Hi.  3;  King  John, 
Hi.  1.     See  Kings.  .. 

Monasteries,  to  pay  the  cost  of  war,  Ki7ig  John,  i.  1;  m.  3. 


232  INDEX  TO  SHAKSPEME'S   WORKS. 

Money,  all  ways  lie  open  for,  Merry  Wives  of  Windsor,  ii.  2 ; 
marrying  for,  Merry  Wives  of  Windsor,  Hi.  4;  Taming  of  the 
Shrew,  i.  2 ;  love  of,  AlVs  Well  that  Ends  Well,  iv.  3,  "Sir,  for  a 
quart  d'ecu,"  etc. ;  Richard  IL,  ii.  2,  "  Their  love  lies  in  their 
purses,"  etc. ;  raised  by  farming  the  realm,  Richard  IL,  i.  4,'  gained 
by  vi^  means,  Julius  Ccesar,  iv.  3 ;  power  of,  Timon  of  Athens,  iv. 
3 ;  put,  in  thy  purse,  Othello,  i.  3 ;  despised,  Cymbeline.  Hi.  6.  See 
also  Gold. 

Monks,  are  not  made  by  hoods,  Twelfth  Night,  i.  5 ;  Henry 
VIIL,  Hi.  1. 

Monmouth,  Henry  of.     See  Henry  V. 

Monmouth,  compared  to  Macedon,  Henry  V.,  iv.  7. 

Monster(s),  a  shallow,  weak,  credulous,  2%e  Tempest,  ii.  2 ;  of 
the  sea.  Merchant  of  Ve^iice,  Hi.  2 ;  Coriolanus,  iv.  2;  in  love  with 
a,  3Iidsummer-Nighfs  Dream,  Hi.  2,  ■ 

Montacute.     See  Salisbury. 

Montacute,  Henry  Pole,  Lord,  Henry  VIIL,  i.  1.  Son-in-law 
of  Abergavenny,  brother  of  Cardinal  Pole.  He  was  executed  in  the 
reign  of  Henry  VIIL  on  another  charge  than  the  one  here  spoken  of. 

Montague,  John  Neville,  Marquis  of,  character  in  ///.  Henry 
VI.,  introduced  in  i.  1.  He  was  a  partisan  of  the  House  of  York, 
but  followed  his  brother,  Warwick,  to  the  other  side.  His  death 
is  described  in  v.  2. 

Montague,  and  Lady  Montague,  father  and  mother  of  Romeo, 
iijtroduced  in  i.  L 

Montaigne,  Michel,  a  French  author,  1533-1593.  Gonzalo's 
ideal  commonwealth,  The  Tempest,  ii.  1,  is  after  Montaigne. 

Montano,  governor  of  Cyprus,  character  in  Othello,  introduced 
in  ii.  1. 

Montgomery,  Sir  John,  character  in  III.  Henry  VI.,  introduced 
in  iv.  7.  His  name  should  be  given  Thomas.  He  was  a  favourite  of 
Edward  IV.,  and  one  of  his  most  intimate  friends  and  advisers. 

Month's  mind,  a.  Two  Gentlemen  of  Verona,  i.  2.  Strong 
desire,  a  proverbial  expression,  of  doubtful  origin. 

Montjoy,  a  French  herald  in  Henry  V.,  first  appears  in  Hi.  6, 
playing  a  quite  important  part.  "  Montjoie  "  was  the  battle-cry  of 
the  French. 

Monument,  a,  in  verse,  Sonnets  Iv.,  Ixxxi.,  cvii. ;  a  living,  Ham- 
let, V.  1 ;  goodness  and  he  shall  fill  up  one,  Henry  VIIL,  ii.  i. 

Monument,  the,  at  Alexandria,  Antony  and  Cleopatra,  iv.  11 
and  13,  or  13-15  ;  v.  2. 


INDEX  TO  SHAKSPERE\S   WORKS.  233 

Moods,  must  be  indulged,  Much  Ado  about  Notliing,  i.  o ;  of 
Jaques,  As  You  Like  It,  ii.  1. 

Moon,  the,  the  man  in,  The  Tempest,  ii.  2;  controlled  by  a 
witch,  The  Tempest,  v.  1;  like  a  silver  bow,  Midsummer-Nighfs 
Dream,  i.  1;  diseases  caused  by,  Midsummer-Nighfs  Dream,  ii.  1; 
creep  through  the  earth's  centre,  Midsummer-Nighfs  Dream,  %ii.  2  ; 
the  watery  star,  A  Winter's  Tale,  i.  2;  the  sea  governed  by,  I.  Hen- 
ry IV.,  i.  2;  envious,  Romeo  and  Juliet,  ii.  2;  change  like,  Timon 
of  Athens,  iv.  3 ;  a.  drop  from,  distilled  by  witchcraft,  Macbeth,  Hi. 
5 ;  eclipse  of,  portentous,  Macbeth,  iv,  1 ;  Antony  and  Cleopatra,  Hi. 
13 ;  Eamlet,  i.  1 ;  to  revisit  the  glimpses  of,  Hamlet,  %.  4 ;  error  of 
(lunacy  caused  by),  Othello,  v.  2;  mistress  of  melancholy,  ^n/o/i?/ 
and  Cleopatra,  iv.  9;  visiting,  Antony  and  Cleopatra,  iv.  13  or  15; 
^e^iing,  Antony  and  Cleopatra,  v.  2 ;  eclipses  of ,  King  Lear,  i.  2; 
conjuring,  King  Lear,  ii.  1 ;  age  of.  Love's  Labour's  Lost,  iv.  2. 

Moon-calf,  The  Tempest,  ii.  2;  Hi.  2.  A  monster  supposed  to 
be  formed  under  the  moon's  influence. 

Moonlight,  sleeping.  Merchant  of  Venice,  v.  1. 
Moons,  five,  King  John,  iv.  2. 

Moonshine,  a  character  in  the  interlude  in  3Iidsummer-Nighfs 
Dream,  v.  1,  taken  by  Starveling,  the  tailor. 
Moonshine,  fairies  in,  The  Tempest,  v.  1. 

Moorditch,  /.  Henry  IV.,  i.  2.  A  part  of  the  ditch  about  Lon- 
don, spread  to  an  unwholesome  morass,  and  therefore  shunned  and 
melancholy. 

Moorfields,  Henry  VIIL,  v.  4.  The  train-bands  were  drilled 
there. 

Moors,  changeable  in  their  wills,  Othello,  i.  3. 
Mopsa,  a  shepherdess  in  A  Winter's  Tale,  iv.  4. 
Mordake,  Earl  of  Fife,  mentioned  in  /.  Henry  IV.  as  one  of  the 
prisoners  taken  by  Hotspur.     It  was  Murdach  Stuart. 

More,  Sir  Thomas,  Heyiry  VIIL,  Hi.  2.  Lord  Chancellor  of  Eng- 
land, born  1480,  executed  1535. 
Morgan.     See  Belarius. 

Morisco,  II.  Henry  VL,  Hi.  1.  Name  applied  to  the  Moors  left 
in  Spain  after  the  fall  of  Granada. 

Morning,  The  Tempest,  v.  1 ;  Much  Ado  about  Nothing,  v.  3  ; 
Midsummer-Nighfs  Dream,  Hi.  2,  "  For  night's  swift  dragons,"  etc. ; 
1.  Henry  VI,  ii.  2;  III.  Henry  VI.,  ii.  1;  Richard  HI,  v.  3;  Ro- 
meo and  Juliet,  i.  1;  ii.  3;  Hi.  5;  Hamlet,  i.  1,  5;  song  on,  Cymbe- 
line,  ii.  3;  Venus  and  Adonis,  lines  2,853;  Sonnet  xxxiii.;  Pas- 


234  INDEX  TO  SHAKSPERE'S  WORKS. 

sionate  Pilgrim,  xv. ;  King  John,  Hi.  8 ;  Troilus  and  Cressida,  iv, 
2 ;  Julius  Ccesar,  ii.  1;  Antony  and  Cleopatra,  iv.  Jf.. 

Morocco,  the  Prince  of,  one  of  the  suitors  of  Portia  in  the  Mer- 
chant of  Vt7iice,  appears  in  ii.  1  and  7,  and  chooses  the  golden 
casket. 

Morris,  AlVs  Well  that  Ends  Well,  ii.  2 ;  Henry  V.,  ii.  4.  A 
dance,  in  which-  the  characters  were  generally  Robin  Hood,  Maid 
Marian,  Little  John,  Scarlet,  Stokesley,  the  Fool,  and  Tom  the  Piper. 

Morris,  nine  men's,  Midsummer- Nigh  fs  Dream,  ii.  1.  A  square 
of  sod  marked  into  squares  like  a  chess-board  for  a  game. 

Morris-pike  (Moorish  pike),  Comedy  of  Errors,  iv.  3. 

Morrow,  never  shall  sun  that,  see,  Macbeth,  i.  5. 

Mortality,  As  You  Like  It,  ii.  7,  "  And  so  from  hour  to  hour," 
etc. ;  King  John,  v.  7,  "  When  this  was  now  a  king,"  etc. ;  Sonnet 
Ixv.;  this  muddy  vesture  of  decay,  Merchant  of  Venice,  v.  1;  if 
knowledge  could  have  been  set  up  against,  All's  Well  that  Ends 
Well,  i.  1.    See  Death,  Life. 

Mortals,  thoughts  beyond,  Hamlet,  i.  4. 

Mort  Dieu !  (God's  death),  II.  Henry  VI.,  i.  1. 

Mortimer,  Edmund,  Earl  of  March,  character  in  /.  Henry  IV., 
introduced  in  Hi.  1,  Glendower's  son-in-law.  In  i.  1,  his  capture  by 
Glendower  is  spoken  of,  and  in  i.  3  Hotspur  vows  to 

"  lift  the  down-trod  Mortimer 
As  high  i'  the  air  as  this  unthankful  king." 

The  Mortimer  that  was  Earl  of  March  was  in  reality  not  the  one 
that  was  Glendower's  son-in-law.  The  latter  was  Sir  Edmund  Mor- 
timer, uncle  of  the  young  Earl  of  March,  who  had  a  claim  to  the 
crown,  and  is  the  Earl  of  March  in  I.  Henry  VI.  Mortimer  in  the 
play  is  a  rather  contemptible  character,  unwilling  to  do  anything  for 
himself,  and  basely  failing  at  the  critical  moment. 

Mortimer,  Edmund,  Earl  of  March,  character  in  I.  Henry  VI., 
first  appears  in  ii.  5.  He  was  not  kept  in  confinement  during  the 
reign  of  Henry  V..  but  held  high  honours  under  him,  and  went  with 
him  to  the  wars  in  France.  He  was  made  Lord  Lieutenant  of  Ire- 
land in  1422,  and  died  at  Trim  Castle  in  1424. 

Mortimer,  Lady,  daughter  of  Owen  Glendower,  character  in  1. 
Henry  IV.,  introduced  in  Hi.  1.  She  can  speak  no  English,  Morti- 
mer no  Welsh,  and  Glendower  interprets,  while  Hotspur  ridicules 
the  absurd  love-scene. 

Mortimer  of  Scotland,  Lord,  I.  Henry  IV.,  Hi.  2.  Perhape 
George  Dunbar,  Earl  of  March  in  Scotland. 


INDEX  TO  SHAKSPEEE'S   WORKS.  235 

Mortimer,  Sir  Hugh  and  Sir  John,  uncles  of  York  in  IIL 
Henry  YL,  introduced  in  i.  2. 

Mortimer,  John,  the  Duke  of  York's  plan  for  having  Jack  Cade 
assume  the  name  of,  II.  Henry  VI.,  Hi.  1.  History  does  not  impute 
to  York  any  such  connection  with  Cade's  plot. 

Mortimers,  claim  of  the,  to  the  throne,  I.  Henry  VI.,  ii.  5. 

Mortim.er's  Crpss,  scene  of  III.  Henry  VL,  ii.  1.  A  battle  was 
fought  there  February  2,  1461,  between  the  Yorkists  under  Edward, 
Duke  of  York,  afterward  Edward  IV.,  and  the  Lancastrians  under 
the  Earl  of  Pembroke,  with  victory  to  York. 

Morton,  a  retainer  of  Northumberland,  in  II.  Henry  IV.,  first 
appears  in  i.  1. 

Morton,  John,  Bishop  of  Ely.     See  Ely. 

Mot  (word,  motto),  Lucrece,  I.  830. 

Moth,  a  fairy  in  the  Midsummer-Nigh fs  Bream,  Hi.  1. 

Moth,  an  airy,  saucy,  witty,  little  page  serving  the  pompous 
Spaniard  in  Love's  Labour's  Lost,  introduced  in  i.  2.  The  word  was 
pronounced  "  Mote." 

Mother,  grief  of  a.  King  John,  Hi.  4. ;  III.  Henry  VL,  v.  5  ; 
ambition  of  a,  Coriolanus,  i.  3 ;  one,  pleading  for  her  son,  Titus 
Andronicus,  i.  1  ov  2 ;  and  her  child,  Richard  II.,  Hi.  2 ;  I.  Henry 
VL,  Hi.  3 ;  Julius  Ccesar,  Hi.  1 ;  Macbeth,  i.  7. 

Motion,  things  in,  catch  the  eye,  Troilus  and  Cressida,  Hi.  3. 

Motion  (puppet-show),  2\vo  Gentlemerh  of  Verona,  ii.  1 ;  A  Win- 
ter's Tale,  iv.  2. 

Motley,  to  wear,  in  the  brain,  Twelfth  Night,  i.  5;  motley- 
minded,  As  You  Like  It,  v.  4.. 

Mouldy,  a  recruit,  character  in  II.  Henry  IV.,  Hi.  2. 

Mountain,  the  apparition  of  a  hound.  The  Tempest,  iv.  1. 

Mountaineers,  dew-lapped  like  bulls.  The  Tempest,  Hi.  3. 

Mountains,  far  off.  Midsummer- Night's  Dream,  iv.  1 ;  firmness 
of.  Taming  of  the  Shrew,  ii.  1;  As  You  Like  It,  Hi.  2 ;  King  John, 
ii.  2. 

Mountanto,  or  Montanto,  Signior,  a  name  applied  to  Bene- 
dick by  Beatrice,  meaning  that  he  was  a  great  fencer,  or  professed 
to  be.  Much  Ado  about  Nothing,  i.  1. 

Mourning,  excessive.  Twelfth  Night,  i.  1,  2,  5 ;  AlVs  Well  that 
'Ends  Well,  i.  1 ;  Hamlet,  i.  2. 

Mouse,  the  most  magnanimous,  //.  Henry  VL,  Hi.  2;  in  ab- 
sence of  the  cat,  Henry  V.,  i.  2.  ;  Coriolanus,  i.  G. 

Mouse-trap,  the,  Hamlet,  Hi.  2.     Applied  to  the  play  he  brings 


236  INDEX  TO  SEAKSPEBE'S    WORKS. 

forward,  because  it  was  designed  to  entrap  the  king  into  the  betrayal 
of  his  guilt. 

Mouth,  a  beautiful,  Venus  and  Adonis,  lines  451,  50It. 

Mouthing,  by  actors,  Samlet,  Hi.  2. 

Mowbray,  Lord  Thomas,  character  in  II.  Henry  IV.,  first  ap- 
pears in  i.  3.     He  is  on  the  side  opposed  to  the  king. 

Mowbray.     See  Norfolk. 

Moyses,  an  outlaw  metioned  in  the  Two  Gentlemen  of  Verona, 
V.2. 

Much  Ado  about  Nothing,  a  comedy  first  published  in  1600, 
and  probably  written  in  that  or  the  previous  year.  The  plot,  so  far 
as  regards  Hero  and  Claudio,  had  already  been  used  by  Ariosto,  in 
the  story  of  Ariodante  and  Ginevra,  in  the  fifth  canto  of  "  Orlando 
Furioso,"  by  an  English  playwright,  who  dramatized  Ariosto's  story 
by  Spenser  in  the  "  Faerie  Queene,"  and  by  Bandello  in  his  story 
"  Timbreo  di  Cardona,"  translated  by  Belleforest  into  French.  The 
last-named  was  probably  the  one  used  by  Shakspere,  who  united  with 
the  serious  plot  the  parts  of  Benedick  and  Beatrice.  The  scene  is  laid 
in  Messina.  Mr.  White  thinks  that  a  pun  is  intended  in  the  title  of 
the  play  on  noting  and  nothing,  pronounced  very  much  alike  in 
Shakspere's  time.  The  people  in  the  play  make  much  ado  about 
noting — that  is,  watching  one  another — while  at  the  same  time  much 
ado  is  made  about  the  scandal  regarding  Hero,  which  rests  on  a  basis 
of  nothing.  This  is  one  of  the  most  popular  of  the  comedies,  both 
for  reading  and  for  stage  representation. 

Mugs,  a  carrier  in  /.  Henry  IV.,  ii.  1. 

Mulier  (woman),  from  the  Latin  mollis  aer  (gentle  air),  Cymbe- 
line,  V.  6.  This  fanciful  etymology  is  said  to  have  been  a  favourite 
notion  in  Shakspere's  time. 

Mulmutius,  first  king  of  Britain,  Cymheline,  Hi.  1. 

Multitude,  the,  rumour  among,  II.  Henry  IV.,  induction; 
fickleness  of,  II.  Henry  IV.,  i.  3  ;  affections  of,  in  their  eyes,  Ham- 
let, iv.  3,  or  V.  7 ;  the  fool,  Mercliant  of  Venice,  ii.  9  ;  many-headed, 
Coriolanus,  ii.  3. 

Mummy,  dyed  in  (in  spicy  liquor  from  mummies,  supposed  to 
have  magic  or  medicinal  virtue),  Othello,  Hi.  4  >  the  witches',  Mac- 
beth, iv.  i. 

Munificence,  Love's  Lahour^s  Lost,  Hi.  1,  "  The  best  ward  of 
mine  honour  is  rewarding  my  dependents." 

Murder,  sin  of,  Measure  for  MeannrQ.  ii.  4;  for  love,  Twelfth 
Night,  H.  1 ;  see  Superstition  ;  suggestion  of — of  kings,  A  Winter's 


INDEX  TO  SHAKSPERE'S  WORKS.  237 

Tale,  i.  2  ;  of  Arthur — excuses  for,  King  John,  iv.  2  ;  nature's  aid  to 
punish — crest  of,  King  John,  iv.  3  ;  accusation  of,  Richard  II.,  i.  1 ; 
of  a  deposed  king,  Richard  II.,  v.  5 ;  reward  for,  at  a  king's  in- 
stance, Richard  II.,  v.  6 ;  sentence  for,  Timon  of  Athens,  Hi.  5  ;  of 
Duncan,  the:  first  suggested  to  Macbeth,  i.  3 ;  to  Lady  Macbeth,  i. 
5  ;  planned,  i.  7  ;  accomplished,  ii.  3  ;  of  the  guards,  Macbeth,  ii.  3 ; 
of  Banquo — will  out,  Macbeth,  Hi.  4  ',  in  old  times,  Macbeth,  Hi.  4  ; 
most  foul,  Hamlet,  i.  5  ;  will  speak,  Hamlet,  ii.  2  ;  a.  brother's,  Ham- 
let, Hi.  3 ;  during  prayer,  Hamlet,  Hi.  3 ;  no  place  should  sanctu- 
arize,  Hamlet,  iv.  7 ;  evidences  of,  //.  Henry  VI.,  Hi.  2;  against 
God's  law,  Richard  III,  i.  4;  ruthless,  Richard  III.,  iv.  3 ;  of  Des- 
demona,  thought  sacrifice,  Othello,  v.  2 ;  command  to,  Cymheline, 
Hi.  2,  4- 

]yiurderer(s),  of  Clarence  in  Richard  III.,  i.  3  and  4  >  fears  of  a, 
Macbeth,  H.  1 ;  of  Banquo,  Macbeth,  Hi.  1,  3,  4 ;  of  Macduff's  chil- 
dren, Macbeth,  iv.  2  ;  of  the  princes,  Richard  III.,  iv.  3 ;  of  Arthur, 
King  John,  iv.  2 ;  of  the  king,  Richard  II.,  v.  6 ;  denunciation  of, 
///.  Henry  VI.,  v.  5 ;  pardon  of,  Romeo  and  Juliet,  Hi.  1. 

Murdering-piece,  Hamlet,  iv.  5  or  2.  A  small  piece  of  artil- 
lery often  used  on  ships. 

Murder  of  Gonzago,  Hamlet,  H.  2.  The  play  selected  by 
Hamlet  for  the  actors. 

Mure  (wall),  //.  Henry  IV.,  iv.  4. 

Murray,  Thomas  Dunbar,  Earl  of,  I.  Henry  IV.,  i.  1, 

Muscles,  fresh-brook.  The  Tempest,  i.  2. 

Muscovites  (Russians),  Love's  Labour's  Lost,  v.  2, 

Muse,  the.    See  Poetry. 

Muse  (to  wonder).  Two  Gentlemen  of  Verona,  i.  3,  and  elsewhere,. 

Muses,  the  thrice  three.    See  Greene,  Robert. 

Musets  (openings  in  hedges),  Venus  and  Adonis,  I.  683. 

Mushrooms,  made  by  fairies,  Tlie  Tempest,  v.  1. 

Music,  effects  of.  The  Tempest,  i.  2 ;  iv.  1 ;  magic,  The  Tem- 
pest, Hi.  2 ;  power  of,  Tivo  Gentlemen  of  Verona,  Hi.  2  ;  Much  Ado 
about  Nothing,  H.  <?;  a  mermaid's,  Midsummer-Nighfs  Dream,  ii. 
1;  by  fairies,  Midsummer-Night'' s  Dream,  ii.  3;  Hi.  1;  broken 
(ribs),  As  You  Like  It,  i.  2 ;  a.t  a,  marriage,  As  You  Like  It,  v.  4  / 
charm  oi.  As  You  Like  It,  iv.  1;  fading  in,  Ilerchant  of  Venice, 
Hi.  2  ;  a.  soul  without.  Merchant  of  Venice,  v.  1 ;  design  of.  Taming 
of  the  Shrew,  Hi.  1;  the  food  of  love.  Twelfth  Night,  i.  1;  without 
time,  Richard  II.,  v.  5  ;  a,  composer  of,  I.  Henry  IV.,  iii.  1 ;  for  the 
sick,  II.  Henry  I V.,  iv.  5  ;  charm  of,  Henry  VIII.,  iii.  1,  song  ;  dis- 
16 


238  INDEX  TO  SIIAKSFERE'S  WORKS. 

cordant  when  it  calls  to  jDarting,  Romeo  and  Juliet  Hi.  5  ;  doth  lend 
redress,  Romeo  and  Juliet,  iv.  5 ;  for  lovers,  Antony  and  Cleopatra, 
a.  6 ;  in  the  air,  Antony  and  Cl:opatra,  iv.  3  ;  &  master  of,  Pericles, 
a.  5 ;  of  the  spheres,  Pericles,  v.  1;  Merchant  of  Venice,  v.  1 ;  at 
;i  burial,  Cymbeline,  iv.  2 ;  family  happiness  like,  Sonnet  viii.  ; 
tlie  player,  Sonnet  cxxviii. ;  and  poetry,  Passionate  Pilgrim,  viii. ; 
stopped  for  the  love  of  music,  Othello,  Hi.  1. 

Musicians,  characters  in  Romeo  and  Juliet  and  in  Othello. 

Music  to  hear,  why  hear'st  thou  music  sadly  ?  Sonnet 
viii. 

Muss  (scramble),  Antony  and  Cleopatra,  Hi.  13. 

Mustard.     See  Tewksbury  Mustard. 

Mustard-seed,  a  fairy  in  the  Midsummer -Nighfs  Dream, 
Hi.  1. 

Mutability,  of  earthly  things,  II.  Henry  IV.,  Hi.  1;  Romeo 
and  Juliet,  iv.  5  ;  Hamlet.  Hi.  2  ;  iv.  5  ;  v.  1.     See  Time. 

Mutius,  character  in  Titus  Andronicus,  son  of  Titus,  enters  in 
I.  1  or  2,  is  stabbed  by  his  father  in  the  same  scene,  and  dies. 

Mutton,  a  laced  (wanton),  Two  Oentlemen  of  Verona,  i.  1; 
Measure  for  Measure,  Hi.  2. 

Muzzle,  trusted  with  a,  3Iuch  Ado  ahout  Nothing,  i.  3. 

My  flocks  feed  not,  Passionate  Pilgrim,  xviii. 

My  glass  shall  not  persuade  me  I  am  old.  Sonnet  xxii. 

My  love  is  as  a  fever,  Sonnet  cxlvii. 

My  love  is  strengthened,  though  more  weak  in  seem- 
ing, Sonnet  cii. 

My  mistress'  eyes  are  nothing  like  the  sun,  Sonnet  cxxx. 

Mystery,  a,  in  the  soul  of  state,  Troilus  and  Cressida,  Hi.  3 ; 
of  things,  Ki}ig  Lear,  v.  3. 

My  thoughts  do  harbour,  poem,  Two  Gentlemen  of  Veronrr, 
Hi.  1. 

"SILy  tongue-tied  muse  in  manners  holds  her  still,  Son- 
net Ixxxv. 

Naiads,  The  Tempest,  iv.  1. 

Nail,  one,  drives  out  another.  Two  Gentlemen  of  Verona,  H.  4  / 
dead  as  nail  in  door,  II.  Henry  IV.,  v.  3.    See  Proverbs. 

Name,  a  good,  shamed  by  falsehood,  Comedy  of  Errors,  ii.  1 ; 
an  enemy — what's  in  a,  Romeo  and  Juliet,  ii.  2 ;  where  lodges  the, 
Romeo  and  Juliet,  Hi.  3 ;  good,  OtJiello,  ii.  3 ;  robbery  of  a  good, 
Hi.  3  ;  Ducrece,  I.  820.     See  also  Reputation. 


INDEX  TO  SHAKSPERE'S    WORKS.  239 

Names,  forgetting  of,  King  John,  i.  1 ;  comparison  of,  Julius 
Ccesai;  i.  J, 

Naples,  Alonzo,  King  of.     See  Aloxzo, 

Naples,  Reignier,  King  of.    See  ReigxieRo 

Narbon,  Gerard  de,  father  of  Helena  in  All's  Well  that  Ends 
Well,  mentioned  in  i.  1 ;  ii.  1. 

Narcissus,  Venus  and  Adonis,  I.  161;  Lucrece,  I.  265 ;  Antony 
and  Cleoimtra,  ii.  5.  A  beautifid  youth,  who  fell  in  love  with  hit- 
own  image  in  a  fountain. 

Nathaniel,  Sir,  a  curate  in  Love's  Lahour's  Lo^t,  introduced  in 
iv.  2,  "a  foolish,  mild  man,  an  honest  man,  look  you,  and  socn 
dashed." 

Nation,  a  miserable,  Macbeth,  iv.  3. 

Nature,  requires  interest  for  her  gifts,  Measure  for  Measure,  i. 
1;  office  of.  As  You  Like  It,  i.  2;  sale- work  of.  As  You  Like  It,  Hi. 
5 ;  brings  together  what  Fortune  separates,  AWs  Well  that  Ends 
Well,  i.  1,  end;  will  betray  folly,  A  Winter's  Tale,  i.  2;  itself 
makes  the  art  that  improves  it,  A  Winter's  Tale,  iv.  3  or  4,  "  Say 
there  be,"  etc. ;  gifts  of.  King  John,  Hi.  1 ;  one  touch  of,  Troilu& 
and  Oressida,  Hi.  3;  horrible  places  of,  Titus  Andronicus,  iv.  1, 
bounteous  housewife  and  common  mother,  Timon  of  Athens,  iv.  3 , 
goddess,  King  Lear,  i.  2  ;  foster-nurse  of,  King  Lear,  iv.  If, ;  redeems 
from  curse,  King  Lear,  iv.  6  ;  needs  of.  King  Lear,  ii.  4  ;  the  sparks 
of,  hard  to  hide,  Cyinbeline,  Hi.  3 ;  against  fancy,  Antony  and  Cleo- 
patra, V.  2 ;  hath  meal  and  bran,  Cymheline,  iv.  2 ;  a.  forger,  Venus 
and  Adonis,  I.  728 ;  lends,  not  gives,  So?met  iv.;  bankrupt.  Sonnet 
Ixvii. ;  shows  false  art.  Sonnet  Ixviii. ;  mistress  over  wrack,  Sonnet 
cxxvi. ;  labouring  art  can  never  ransom,  All's  Well  that  Ends  Well, 
H.  1 ;  the  products  of,  good  or  evil,  according  as  they  are  applied, 
Romeo  and  Juliet,  ii.  3. 

Naught  awhile,  be  (be  hanged  to  you  ?),  As  You  Like  It,  i.  1. 

Navarre,  a  province  of  Spain,  once  a  kingdom,  scene  of  Love's 
Labour's  Lost. 

Nay-word,  or  aye-word  (watch-word,  countersign).  Merry  Wives 
of  Windsor,  ii.  2,  and  others  ;  by-word.  Twelfth  Night,  H.  3. 

Nazarite,  the,  Merchant  of  Venice,  i.  2.    Nazarene,  Jesus. 

Neapolitan  Prince,  one  of  the  suitors  of  Portia,  mentioned  in 
the  Merchant  of  Venice,  i.  2. 

Near-legged  (starting  with  the  left,  or  interfering),  Taming 
of  the  Shreiv,  Hi.  2. 

Neat-slave  (one  to  take  care  of  notit  cnttlp),  Ki7ig  Lear,  ii.  2. 


240  INDEX  TO  SHAKSPERE'S  WORKS. 

Nebuchadnezzar,  AlVs  Well  that  Ends  Well,  iv.  5. 

Necessity,  virtue  of,  Two  Gentlemen  of  Verona,  iv.  1 ;  honour 
hidden  in,  Merry  Wives  of  Windsor,  ii.  2 ;  the  fairest  grant,  Much 
Ado  about  Nothing,  i.  1;  plea  of,  Love's  Labour's  Lost,  i.  1;  All's 
Well  that  E?ids  Well,  i.  3,  "  He  must  needs  go,"  etc. ;  no  virtue  like, 
Richard  II.,  i.  3  ;  sworn  brother  to,  Richard  II.,  v.  1;  Hamlet,  v.  1, 
"The  cat  will  mew,"  etc. ;  sharp  pinch  of ,  King  Lear,  ii.  4;  can 
make  vile  things  precious.  King  Lear,  Hi.  2. 

Nedar,  father  of  Helena  in  Midsummer-Night's  Dream,  iv.  1, 

Need,  and  f^ith.  King  John,  lii.  1. 

Negligence,  fit  for  a  fool  to  fall  by,  Henry  VIII,  Hi.  2 ;  dan- 
ger of,  Troilus  and  Cressida,  Hi.  3 ;  omittance  is  no  quittance,  As 
You  Like  It,  Hi.  5. 

Neif  (fist),  Midsummer-Nighfs  Dream,  iv.  1;  II.  Henry  IV., 
H.  4. 

Neighbour,  a  bad,  is  an  outward  conscience,  Henry  V.,  iv.  1. 

Ne  intelligis  (do  you  not  understand  %  Love's  Labour's  Lost, 
V.  L 

Nell,  the  fat  cook  in  the  Comedy  of  Errors,  described  in  Hi.  2. 

Nemean  lion,  the.  Lovers  Labour's  Lost,  iv.  1;  Hamlet,  i.  4. 
It  was  killed  by  Hercules. 

Nemesis,  avenging  goddess,  /.  Henry  VI.,  iv.  7. 

Neoptolemus,  Troilus  and  Cressida.  iv.  5.  Incorrectly  used  as 
a  name  of  Achilles.     He  was  a  son  of  Achilles. 

Neptune,  The  Tempest,  i.  2 ;  v.  1 ;  A  Winter's  Tale,  iv.  3  or  4; 
II.  Henry  IV.,  Hi.  1;  Hamlet,  Hi.  2;  Antony  and  Cleopatra,  iv. 
12  or  14;  Midsummer-Night's  Dream,  ii.  2;  would  not  flatter  him 
for  his  trident,  Coriolanus,  Hi.  1;  England  his  park,  Cymbeline. 
Hi.  1.     The  god  of  the  ocean. 

Nerissa,  the  waiting-maid  of  Portia  in  the  Merchant  of  Venice,. 
first  appears  in  i.  2,  a  bright,  pert  imitator  of  Portia,  somewhat  re- 
sembling Lucetta  in  the  Tivo  Gentlemen  of  Verona. 

Nero  (Emperor  of  Rome,  born  37,  died  68  a.  d.).  King  John,  v. 
2 ;  I.  Henry  VI.,  i.  4 ;  III.  Henry  VI.,  Hi.  1 ;  the  soul  of,  Hamlet, 
Hi.  2.  He  is  said  to  have  murdered  his  mother ;  an  angler  in  the 
lake  of  darkness,  King  Lear,  Hi.  6.  See  Smulkix.  Lear  was  hun- 
dreds of  years  before  Xero. 

Neroes,  ye  bloody.  King  John,  v.  2. 

Nervii,  the,  Julius  CcBsar,  Hi.  2.  A  tribe  of  the  BelgaB,  the  vic- 
tory over  whom  was  one  of  Caesar's  greatest  achievements. 

Nessus,  All's  Well  that  Ends  Well,  iv.  3 ;  Antony  and  CUopa- 


INDEX  TO  SHAKSPERE'S    WORKS.  241 

tra,  iv.  10  or  12.  A  centaur  killed  by  Hercules,  who  told  Dejanira, 
the  wife  of  Hercules,  to  save  some  of  his  blood  for  a  charm  with 
which  to  keep  the  love  of  Hercules.  This  she  did,  and  afterward 
unwittingly  poisoned  him  by  using  it  on  the  robe  sent  for  by  him. 

Nestor,  one  of  the  Grecian  generals,  distinguished  for  his  wis- 
dom and  experience  and  his  powers  of  persuasion.  His  name  has 
become  a  synonym  for  the  wisdom  of  ripe  experience.  He  is  intro- 
duced in  i.  3  of  Troilus  and  Cressida,  and  in  the  same  scene  Ulysses 
describes  how  Patroclus  mimics  the  infirmities  of  age  in  him  to 
amuse  Achilles.  Other  allusions.  Love's  Labour's  Lost,  iv.  3 ;  Mer- 
chant of  Venice,  i.  1;  I.  Henry  VL,  ii.  5;  III.  Henry  VI.,  Hi.  2; 
in  a  painting,  Lucrece,  I.  I401. 

Netherlands,  the.  Comedy  of  Errors,  Hi.  2. 
Nettle,  from  the,  danger,  pluck  the  flower,  safety,  I.  Henry  IV., 
ii.  3. 

Neville.     See  Warwick. 
Neville,  Ralph.    See  Westmoreland. 
New,  nothing.  Sonnet  lix. 

Newness,  in  authority,  zeal  of.  Measure  for  Measure,  i.  3. 
News,  good  and  bad,  Tivo  Gentlemen  of  Verona,  Hi.  1 ;  resent- 
ment toward  the  bearer  of.  Much  Ado  about  Nothing,  ii.  1;  the 
bearer  of  ill,  KHig  John,  Hi.  1;  II.  Henry  IV.,  i.  1;  Macbeth,  iv.  3; 
Antony  and  Cleopatra,  i.  2;  ii.  5;  fitting  to  the  night,  King  John, 
V.  6 ;  bearer  of  good,  //.  Henry  IV.,  iv.  4,  "  Thou  art  a  summer 
bird,"  etc.;  impatience  for,  Romeo  and  Juliet,  ii.  5;  Hi.  2;  bad, 
Cymbeline,  Hi.  4;  of  war,  II.  Henry  IV.,  i.  1;  ii.  4/  of  carnal, 
bloody,  and  unnatural  acts,  Hamlet,  v.  2;  King  John,  iv.  2;  Julius 
CcBsar,  V.  3;  wonderful,  A  Winter's  Tale,  v.  2;  fresh,  every  minute, 
Atitony  and  Cleopatra,  Hi.  7;  the  bearer  of  strange,  Macbeth,  i.  2; 
stale,  Hamlet,  i.  5  ;  old  (great),  Taming  of  the  Shrew,  Hi.  1. 

Nice  (foolish  or  trivial),  Taming  of  the  Shrew,iii.l;  Romeo  and 
Juliet,  V.  2. 

Nicholas,  Saint,  Two  Gentlemen  of  Verona,  Hi.  1 ;  clerks  of,  1. 
Henry  IV.,  ii.  1.    Eobbers  were  so  called. 

Nick  (reckoning  made  by  notches  in  sticks),  out  of  all,  Two  Gen- 
tlemen of  Verona,  iv.  2. 

Nicks,  like  a  fool  (cuts  his  hair  like  a  fool's  or  jester's),  Comedy 
of  Errors,  v.  1. 

Night,  beauty  of  a.  Merchant  of  Venice,  v.  1 ;  makes  the  ear 
more  quick,  Midsummer-NigM s  Bream,  Hi.  2  ;  time  for  fairies  and 
ghosts,  Midsummer-Night's  Dream,  v.  2,  "  Now  the  hungry  lion," 


242  INDEX  TO  SHAKSPEEE'S   WORKS. 

etc. ;  for  plotting  crime,  King  John,  Hi.  3 ;  crimes  in  the,  Richard 
11..  Hi.  2;  the  tragic,  //.  Henry  VI.,  iv.  1;  sober-suited,  Romeo 
and  Juliet,  Hi.  ^;  a  dark,  J/ac&ei'/^,  ii.  1,  "There's  husbandry  in 
heaven;"  an  unruly,  Macbeth,  ii.  3,  J{.;  description  of,  Macbeth,  Hi. 
2 ;  is  long  that,  Macbeth,  iv.  3 ;  the  witching  time  of,  Hamlet,  Hi. 
2 ;  Lucrece,  lines  117,  162,  764,  1081;  wakefulness  in  the.  Sonnet 
Ixi. ;  imagination  at,  Sonnets  xxvii.,  xxviii. ;  unwelcome,  Passionate 
Pilgrim,  xv. ;  the  dragon-wing  of,  Troilus  and  Cressida,  v.  9.  See 
also  Midnight. 

Night-crow,  III.  Henry  VI.,  v.  6. 

Nightingale,  the.  Two  Gentlemen  of  Verona,  v.  4  ;  Merchant  of 
Venice,  v.  1 ;  Romeo  and  Juliet,  Hi.  6  ;  Midsummer-Night'' s  Dream, 
i.  2 ;  Taming  of  the  Shrew,  induction,  2 ;  ii.  1;  Twelfth  Night,  Hi. 
4  ;  Antony  and  Cleopatra,  iv.  8  ;  King  Lear,  Hi.  6  ;  Passionate  Pil- 
grim, xxi.;  allusion  to  the  belief  that  she  sings  with  her  breast 
against  a  thorn,  Lucrece,  I.  1135. 

Night-mare,  the,  King  Lear,  Hi.  4. 

Night-raven,  Much  Ado  about  Nothing,  ii.  3. 

Nile,  the,  serpent  of  old,  Antony  and  Cleopatra,  i.  5 ;  overflow- 
ing of,  Antony  and  Cleopatra,  H.  7 ;  presageth  famine,  Antony  and 
Cleopatra,  i.  2. 

Nine  "Worthies,  the.     See  Worthies. 

Ninny  (Ninus),  tomb  of,  Midsummer-NighVs  Dream,  Hi.  1 ;  v.  1. 

Niobe,  all  tears,  Hamlet,  i.  2 ;  Troilus  and  Cressida,  v.  2.  She 
wept  herself  into  stone  for  the  loss  of  her  children. 

No,  meant  for  ay,  Two  Gentlemen  of  Verona,  i.  2. 

Noah,  Comedy  of  Errors,  Hi.  2  ;  Twelfth  Night,  Hi.  2 ;  his  ark, 
As  You  Like  It,  v.  4. 

Nobility,  fearless,  //.  Henry  VI.,  iv.  1;  loss  of,  Richard  III., 
i.  3.    See  Blood,  Rank. 

Noble,  the,  in  adversity,  Coriolanus,  iv.  1. 

Nobleman,  a,  111.  Henry  VL.  Hi.  2.  The  king  was  taken  by 
the  servants  of  Sir  James  Harrington. 

Nobleman,  as  one  should  live,  I.  Henry  IV.,  v.  4.  end  ;  blood 
of  a,  compared  with  learning,  Henry  VIII. 

Nobleness,  in  the  wilds,  Cynibeline,  iv.  2. 

Nobody,  picture  of.  The  Tempest,  Hi.  2.     A  common  sign. 

No  longer  mourn  for  me  when  I  am  dead.  Sonnet  Ixxi. 

No  more  be  grieved  at  that  which  thou  hast  done.  Son- 
net xxxv. 

No  more  dams  I'll  make  for  fish,  song.  The  Tempest,  ii.  2. 


INDEX  TO  SHAKSPERE'S   WORKS.  243 

Nook-shotten  (shut  into  a  nook,  or  diversified  with  nooks), 
Henry  V.,  Hi.  5. 

Noon,  to  bed  at.     See  Proverbs,  etc. 

Norbury,  Sir  John,  is  mentioned  in  Richard  II.,  ii.  1,  as  one  of 
the  companions  of  Bolingbroke.  Henry,  after  his  accession,  made 
him  Governor  of  Guisnes  and  treasurer  of  the  exchequer. 

Norfolk,  Robert  (correctly  Roger)  Bigot,  Earl  of.  character  in 
King  John,  introduced  in  iv.  3.  He  was  one  of  the  twenty-five 
barons  opposed  to  John. 

Norfolk,  Thomas  Mowbray,  Duke  of,  character  in  Richard  II. 
He  enters  in  the  first  scene,  where  he  is  unjustly  accused  of  the  mur- 
der of  Gloucester,  and  challenged  by  Bolingbroke  on  that  account. 
After  their  meeting,  i.  3,  he  is  sentenced  by  the  king  to  perpetual 
exile,  although  he  is  a  friend  of  the  king,  while  Bolingbroke,  whom 
the  king  hates  and  fears,  receives  but  a  limited  term  of  banishment. 
His  death  at  Venice,  iv.  1.  This  occurred  in  1400.  His  eldest  son 
did  not  bear  the  title  on  account  of  the  attainder,  but  was  simply 
Lord  Mowbray,  under  which  name  he  appears  in  II.  Henry  IV. 
The  title  was,  however,  reared  to  the  second  son,  John,  and  his 
grandson  bears  it  in  III.  Henry  VI. 

Norfolk,  John  Mowbray,  Duke  of,  character  in  III.  Henry  VI., 
introduced  in  i.  1.  He  belongs  to  the  York  party.  He  w^as  the  last 
Mowbray  that  was  Duke  of  Norfolk ;  the  title  descended  to  the  How- 
ards through  his  daughter,  who  married  Sir  Robert  Howard,  and  her 
son,  John  Howard,  is  the  Norfolk  of  Richard  III. 

Norfolk,  John  Howard,  Duke  of,  character  in  Richard  III,  first 
appears  in  v.  3.  The  incident  in  that  scene  of  the  warning  rhyme 
placed  on  his  tent  the  night  before  Bosworth  is  historical.  He  fell 
on  Bosworth  field,  v.  5.  He  was  the  first  Howard  that  became  Duke 
of  Norfolk ;  he  was  also  Earl  Marshal  of  England ;  both  of  which 
titles  still  remain  in  the  Howard  family. 

Norfolk,  Thomas  How-ard,  Duke  of,  character  in  Henry  VIII, 
introduced  in  i.  1.  He  is  an  enemy  of  Wolsey.  There  were  two 
Dukes  of  Norfolk  during  the  time  of  this  play.  The  first  was  the 
Surrey  of  Richard  III.  son  of  the  Norfolk  who  fell  at  Bosworth. 
He  died  in  1524,  and  was  succeeded  by  his  son  of  the  same  name, 
the  Earl  of  Surrey  in  this  play. 

Normandy,  the  loss  of,  to  England,  //.  Henry  VI 
Normans,  the  English,  called,  Henry  V.,  Hi.  5. 
North,  of  opinion,  the,  Ticelfth  Night,  Hi.  2. 
North,  monarch  of  the.     See  Witchcraft. 


IV.  7. 


244  INDEX  TO  SHAKSPERE'S   WORKS. 

Northampton,  scene  of  a  part  of  King  John. 
Northuniberlaiid.,  Henry  Percy,  Earl  of,  a  powerful  nobleman, 
character  in  Richaf^d  II.,  introduced  in  ii.  3,  and  in  the  two  parts  of 
Henry  IV.,  introduced  in  i.  3  and  in  i.  1.  He  joins  in  rebellion 
against  Richard  with  Bolingbroke,  and,  after  helping  to  seat  the 
usurper  on  the  throne,  joins  in  rebellion  against  him.  At  Shrews- 
bury he  is  "  crafty-sick,"  and  fails  to  go  to  the  aid  of  his  son  and 
allies.  In  II  Henry  IV.  he  again  fails  his  allies,  and  the  rebellion 
is  quelled.     Warwick  says  [Part  II,  in.  1] : 

"  King  Richard  might  create  a  perfect  guess. 
That  great  Northumberland,  then  false  to  him. 
Would,  of  that  seed,  grow  to  a  greater  falseness." 

"  It  is  Northumberland,  now  smooth  and  flexible,  now  rough  and 
unfeeling,  that  first  speaks  of  Richard  with  the  omission  of  his  title ; 
he  it  is  that  repeats  more  solemnly  and  forcibly  the  oath  of  Boling- 
broke that  his  coming  is  but  for  his  own  :  he  it  is  who,  in  the  scene 
of  deposition,  maliciously  torments  Richard  with  the  reading  of  his 
accusation ;  and  he  it  is  who  would  arbitrarily  arrest  the  noble  Car- 
lisle for  high  treason  after  the  outbreak  of  his  feelings  of  right  and 
his  civic  fidelity." — Gervinus.  ^^ 

Northumberland,  Lady,  a  character  in  //.  Henry  IV.,  appears 
in  ii.  3  only.  She  was  Hotspur's  step-mother,  the  Lady  Maud  Lucy, 
who  was  the  widow  of  the  Earl  of  Angus  before  she  married  North- 
umberland. 

Northumberland,  third  Earl  of,  character  in  777.  Henry  VI., 
introduced  in  i.  1.  He  is  a  Lancastrian.  His  father,  who  fell  at  the 
first  battle  of  St.  Alban's,  was  the  son  of  Hotspur.  This  earl  fell  at 
Towton,  March  29,  1461. 

Northumberland,  the  melancholy,  Richard  III,  v.  3. 

Norweyan  lord,  the  (Sweno,  King  of  Norway),  Macbeth,  i.  2. 

Nose(s),  an  embellished,  Comedy  of  Errors,  Hi.  2 ;  a.  good,  is 
requisite,  A  Winter's  Tale,  iv.  3  ;  twenty  of  the  dog-days  in  a,  Henry 
VIII,  V.  3;  why  it  is  in  the  middle  of  the  face.  King  Lear,  i.  5; 
liberty  (license)  plucks  justice  by  the,  Measure  ,or  Measure,  i.  4.; 
to  be  led  by  the,  Othello,  i.  3  ;  Heaven  stops  the,  Othello,  iv.  2 ;  Bar- 
dolph's,  see  Bardolph  ;  Alexander's,  see  Alexander. 

Nose-bleed,  the,  ominous,  3Ier chant  of  Venice,  ii.  5. 

Not  from  the  stars  do  I  my  judgment  pluck,  Sonnet  xiv. 

Nothing,  an  infinite  deal  of,  3Ierchant  of  Venice,  i.  1 ;  prologue 
to.  Alls  Well  that  Ends  Well,  ii.  1,  "  Thus  he  his  special  nothing 
ever  prologues";  aU  the  world  is,  A  Winter's  Tale,  i.  2 ;  can  come 
of  nothing,  King  Lear,  i.  1. 


INDEX  TO  SHAKSPERE'S  WORKS.  245 

thou  shalt  not  boast  that  I  do  change,  Sonnet 
cxxiii. 

Not  marble,  nor  the  gilded  monuments.  Sonnet  Iv. 

Not  mine  own  fears,  nor  the  prophetic  soul.  Sonnet  cvii. 

Nott-pated  (crop-headed),  /.  Henry  IV.,  ii.  4. 

Novelty,  in  request,  Measure  for  Measure,  Hi.  2  ;  Henry  VIII., 
i.  3  ;  Troilus  and  Cressida,  Hi.  2,  "  All  praise  new-born  gauds." 

Novem,  or  novum  (a  game  at  dice),  Love's  Labour's  Lost,  v.  2. 

Novi  hominem,  etc..  Love's  Labour's  Lost,  v.  1.  I  know  the 
man  as  well  as  you. 

Nowl  (head),  Midsummer-NigMs  Dream,  Hi.  2. 

Numbers,  odd.    See  Odd  Numbers. 

Nunnery,  advice  to  enter  a,  Hamlet,  Hi.  L 

Nuns,  life  of,  Midsummer-Nigh fs  Dream,  i.  1;  Measure  for 
Measure,  i.  5  ;  Lover's  Complaint,  I.  232  ;  As  You  Like  It,  Hi.  4. 

Nurse,  character  in  Titus  Andronicus,  first  appears  in  iv.  2,  and 
is  killed  in  the  same  scene. 

Nurse,  Juliet's,  in  Romeo  and  Juliet,  first  appears  in  i.  3.  She 
is  coarse,  garrulous,  deceitful,  and  time-serving,  first  helping  on  the 
marriage  of  Juliet  with  Romeo,  and  then  counselling  her,  after  his 
banishment,  to  marry  Paris,  trusting  to  the  chance  of  Romeo's  never 
turning  up  again — a  proposal  that  reveals  her  real  baseness  to  Juliet, 
who  calls  her  "  ancient  damnation." 

Nuthook  (used  by  thieves  to  take  things  out  of  windows),  Meas- 
ure for  Measure,  i.  1 ;  (slang  for  bailiff),  II.  Henry  IV.,  v.  4. 

Nutmeg,  a  gilt.  Love's  Labour's  Lost,  v.  2.    A  common  gift. 

Nym,  a  character  in  the  Merry  Wives  of  Windsor  and  in  Henry 
v.,  a  corporal  under  Palstaff,  and  a  great  rogue.  His  conversation 
is  marked  by  the  use  of  "  humour  "  as  a  catch-word.  In  Henry  V. 
he  appears  in  i.  1,  in  a  quarrel  with  Pistol,  and  he  is  described  by 
the  boy  in  Hi.  2,  and  at  the  end  of  iv.  4,  where  he  says  that  Bar- 
dolph  and  Nym  are  both  hanged.  His  name  is  a  word  that  means 
to  filch,  ''  Convey,  the  wise  it  call,"  as  Pistol  says  in  the  Merry  Wives 
of  Windsor,  i.  3. 

Nymphs,  cold,  The  Tempest,  iv.  L 

O,  this  wooden,  Henry  IV.,  chorus  to  act  i.  This  was  the  Globe 
Theatre,  which  was  circular  inside.  This  little  0,  the  earth,  Antony 
and  Cleopatra,  v.  2 ;  an  0  without  a  figure.  King  Lear,  i.  4  ;  the 
stars,  fiery  Oes,  Midsummer- Night's  Dream,  Hi.  2 ;  so  deep  an, 
Romeo  and  Juliet,  Hi.  3. 


246  INDEX  TO  SHAKSPERE'S  WORKS. 

Oak,  Jove's  tree,  The  Tempest,  v.  1 ;  As  You  Like  It,  iii.  2 ;  an 
ancient,  As  You  Like  It,  ii.  1 ;  iv.  3 ;  garland  of,  Coriolanus,  i.  3 ; 
a.  i,  2  ;  Heme's,  3Ierry  Wives  of  Windsor,  iv.  4 ;  strength  of.  Meas- 
ure for  Measure,  ii,  2  ;  Julius  Ccesar,  i.  3  ;  to  hew  down  with  rushes, 
Coriola?ius,  i.  1.     See  Herne. 

Oatcake,  Hugh,  mentioned  in  Mucli  Ado  about  Nothing,  Hi.  3. 

Oat]i(s),  weakness  of.  The  Tempest,  iv.  1;  his,  are  oracles,  Tico 
Gentlemen  of  Verona,  li.  7  ;  lose  our,  to  find  ourselves.  Love's  La- 
bour's Lost,  iv.  3,  near  end;  Celia's,  to  make  restitution.  As  You 
Like  It,  i.  2 ;  not  the  many,  that  make  the  truth,  AlVs  Well  tJiat 
Ends  Well,  iv.  2 ;  administered,  A  Winter's  Tale,  iii.  2 ;  never  to 
marry,  A  Winter's  Tale,  v.  1 ;  obligation  of,  King  John,  iii.  1 ;  of 
vengeance.  King  John,  iv.  3  ;  of  enemies  not  to  be  reconciled,  Ricli- 
ard  II..  i.  3 ;  of  the  king,  /.  Henry  I V.,  v.  i ;  a  sin  to  keep  sinful, 
II.  Henry  VI.,  v.  1 ;  III.  Henry  VI.,  v.  1,  "  To  keep  that  oath  were 
more  impiety  than  Jephthah's,"  etc. ;  binding.  III.  Henry  VI.,  i.  2  ; 
Henry's,  III.  Henry  VI.,  ii.  2 ;  needlessness  of,  Julius  Cmsar,  ii.  1; 
on  a  sword,  Hamlet,  i.  5 ;  no  better  than  the  word,  Pericles,  i.  2 ; 
deep.  Sonnet  clii ;  are  straws,  Henry  V.,  ii.  3 ;  are  in  heaven,  J/er- 
chant  of  Venice,  iv.  1;  stronger  thnn  Hercules  in  breaking,  AlVs 
Well  that  Ends  Well,  iv.  3.    See  also  Vows  and  Perjury. 

Oaths  (exclamatory),  face  the  matter  out  with,  Taming  of  the 
Shreiv,  ii.  1 ;  approve  manhood.  Twelfth  Night,  iii.  4,  "  Go,  Sir  An- 
drew," etc. ;  the  right  kind  of,  I.  Henry  IV.,  iii.  1. 

Oaths  and  Exclamations:  Richard  III.  swears  by  St.  Paul, 
his  favourite  oath  according  to  tradition  {Richard  III,  i.  2,  3 ;  iii, 
4  ;  v.  3),  and  "  by  my  George  "  {iv.  4),  that  is,  the  figure  of  St.  George 
on  the  badge  of  Knights  of  the  Garter,  though  that  was  first  used  in 
the  reign  of  Henry  VIL  A  favourite  exclamation  with  Henry  VHI. 
was  "  Ha !."  frequently  used  in  the  play ;  Hamlet  swears  by  St.  Pat- 
rick {i.  5),  by  our  lady  {ii.  2),  and  by  the  rood  {Hi.  If) ;  Polonius,  by 
the  mass  {Hamlet,  ii.  T) ;  Parson  Evans,  by  God's  lords  and  his  ladies 
'od's  (God's)  plessed  will,  and  the  tevil  and  his  tam  {Merry  Wives  of 
Windsor,  i,  1) ;  Mrs.  Page,  by  the  dickens  {Merry  Wives  of  Windsor, 
iii,  2) ;  Nym,  by  welkin  and  her  star  {i,  3) ;  Dr.  Caius,  by  gar  {i.  J; ; 
iii.  3) ;  Shallow  and  Page,  by  cock  a,nd  pie  {3Iernj  Wives  of  Wind- 
sor, i.  1 ;  II.  Henry  IV.,  v.  1),  possibly  referring  to  the  cock  and 
magpie,  a  common  alehouse  sign ;  by  cock,  Taming  of  the  Shreiv, 
iv.  1 ;  Hamlet,  iv.  5 ;  perdy  {par  Lieu),  Comedy  of  Errors,  iv.  4 ; 
Henry  V.,  ii.  1 ;  's  lid  (by  God's  lid).  Merry  Wives  of  Windsor,  iii, 
4;  twelfth  Night,  iii,  4;  'od's  lifelings  (God's  dear  life).  Twelfth 


INDEX   TO  SHAKSPERE'S    WORKS.  247 

Night,  V.  1 ;  by  my  halidom  (holy  dame,  or  holy  dom,  salvation  ?), 
Two  Gentlemen  of  Verona,  iv.  2 ;  Taming  of  the  Shrew,  v.  2 ;  Henry 
VIII.,  V.  1 ;  Romeo  and  Juliet,  i.  3  ;  holy  Mary,  Henry  VIII.,  v.  2; 
's  death  (God's  death),  Coriolanus,  i.  1 ;  by  God's  sonties  (?  sanc- 
tities), Merchant  of  Venice,  ii.  2 ;  's  blood  (God's  blood),  I.  Henry 
IV.,  i.  3 ;  zounds  (God's  wounds),  King  John,  ii.  2 ;  I.  Henry  IV., 
i.  3 ;  ii.  3 ;  iv.  1 ;  bodikins  (little  body).  Merry  Wives  of  Windsor, 
ii.  3;  marry  (supposed  corruption  of  Mary),  in  numberless  passages; 
rivo,  a  drinking  exclamation  of  unknown  meaning,  I.  Henry  IV., 
ii.  4;  by  my  hood  (f  manhood),  Meixhant  of  Venice,  ii.  6;  by  the 
rood.  Love's  Labour's  Lost,  iv.  3 ;  mort  du  vinaigre  (a  nonsensical 
expression,  literally,  death  of  the  vinegar),  Alls  Well  that  Ends  Well, 
ii.  3 ;  darkness  and  devils — life  and  death.  King  Lear,  i.  4 ;  ven- 
geance, plague,  death,  confusion — my  breath  and  blood — death  on 
my  state,  0  the  blest  gods.  King  Lear,  ii.  4  /  hy  Cheshu  (Jesu),  King 
Henry  V.,  Hi.  2;  by  Chrish  (Christ),  King  Henry  V.,  Hi.  2 ;  by 
Apollo,  King  Lear,  i.  1 ;  by  Jupiter,  by  Juno,  King  Lear,  ii.  4  ;  by 
two-headed  Janus,  Merchant  of  Venice,  i.  1;  by  Pluto  and  hell, 
Coriolanus,  i.  4;  0  immortal  gods.  Taming  of  the  Shrew,  v.  i ;  Me- 
hercle  (?  Hercules),  Love's  Labour's  Lost,  iv.2;  the  good  year.  Merry 
Wives  of  Windsor,  i.  4;  by  St.  Jeronimy,  Taming  of  the  Shrew, 
induction,  1 ;  by  St.  Jamy,  induction,  2 ;  gramercies,  Taming  of  the 
Shrew,  i.  1;  St.  Denis  to  St.  Cupid,  Love's  Labour's  Lost,  v.  2; 
'i  fecks  (fin  effect) — grace  to  boot,  A  Winter's  Tale,  i.  2;  by  my  fay 
(faith).  Taming  of  the  Shrew,  induction,  2. 

Oats,  wild,  Hamlet,  ii.  1. 

Ob  (obolus,  half -penny),  1.  Henry  IV.,  ii.  4. 

Obedience,  to  one's  appointed  work,  Henry  V.,  i.  2,  "  Therefore 
doth  Heaven  divide,"  etc. ;  is  for  those  that  cannot  rule,  II.  Henry 
VL,  v.  1 ;  princes  love,  Henry  VIIL,  Hi.  1.     See  Disobedience. 

Oberon,  king  of  the  fairies,  introduced  in  ii.  1  of  Midsummer- 
Night's  Dream.  The  name  is  French,  from  Alheron  or  Alberich,  a 
fairy  dwarf  in  old  German  poems.  In  French  it  became  Auberich 
and  Auberon.     See  Fairies. 

Obidicut,  a  fiend.  King  Lear,  iv.  1.     See  Mahu. 

Oblivion,  alms  for,  Troilus  and-  Cressida,  Hi.  3;  formless 
ruins  of,  Troilus  and  Cressida,  iv.  5 ;  the  gulf  of,  Richard  III, 
Hi.  7. 

Observation,  places  crammed  with.  As  You  Like  It,  ii.  7  ;  need 
of,  in  men  of  the  time,  King  John,  i.  1 ;  j)r()phecy  from,  //,  Henry 
IV.,  vii.  1. 


248  INDEX  TO  SHAKSPERE'S  WORKS. 

Obstinacy,  in  folly,  A  Winters  Tale,  i.  2,  "  You  may  as  well 
forbid,"  etc. 

O  call  not  me  to  justify  the  wrong,  Sonnet  xxxix. 

Occupation,  necessary  to  enjoyment,  /.  Henry  IV.,  i.  2,  "If  all 
the  year,"  etc. ;  Troilus  and  Cressida,  i.  2,  "  Joy's  soul  lies  in  the 
doing ; "  gone,  Othello,  Hi.  8. 

Ocean,  encroachments  of  the,  Sonnet  Ixiv. 

Octavia,  Antony's  wife,  character  in  Antony  and  Cleopatra,  in- 
troduced in  it.  3  ;  her  marriage  proposed  by  Agrippa,  U.  2  ;  parting 
with  Caesar,  Hi.  2  ;  described  to  Cleopatra,  Hi.  3  ;  attempts  to  recon- 
cile Antony  and  Csesar,  Hi.  4 ;  her  appearance  at  Rome,  Hi.  6. 

"  The  character  of  Octavia  is  merely  indicated  in  a  few  touches, 
but  every  stroke  tells.  We  see  her  '  with  downcast  eyes  sedate  and 
sweet,  and  looks  demure,'  with  her  modest  tenderness  and  dignified 
submission — the  very  antipodes  of  her  rival." — Mrs.  Jameson. 

Octavius  Caesar.     See  C^sar. 

Oddity,  in  dress.  Merchant  of  Venice,  i.  2. 

Odd  numbers,  superstition  about,  Merry  Wives  of  Wi7idsor,  v.  1. 

Odds,  foolhardiness  of  taking  great,  Coriolanus,  Hi.  1. 

Ods  pittikins  (God's  dear  pity),  Cymheline,  iv.  2. 

Oeillades  (glances).  Merry  Wives  of  Windsor,  i.  3 ;  King  Lear, 
iv.  5. 

O'erlooked  (bewitched).  Merry  Wives  of  Windsor,  v.  5. 

O'erraught  (overreached).  Comedy  of  Errors,  i.  2 ;  (overtook), 
Hamlet,  Hi.  1. 

Offence,  a  pardoned,  may  gall  the  innocent  afterward.  Measure 
for  Measure,  H.  2 ;  a,  man  that  is  a  general,  All's  Well  that  Ends 
Well,  a.  3  ;  not  a  time  to  criticise  every  slight,  Jidius  CcBsar,  iv.  3; 
a  rank,  Hamlet,  Hi.  3. 

Offender,  sorrow  of  an.  Sonnet  xxxiv. 

Office,  abuse  of  those  in,  Henry  VIII.,  i.  2.  See  Authority, 
Greatness. 

Offices,  sale  of,  Julius  Ccesar,  iv.  3. 

O  for  my  sake  do  you  with  fortune  chide.  Sonnet  cxi. 

O  from  what  power  hast  thou  this  powerful  might.  Son- 
net cl. 

O  how  I  faint  when  I  of  you  do  write.  Sonnet  Ixxx. 

O  how  much  more  doth  beauty  beauteous  seem.  Sonnet 
liv. 

O  how  thy  worth  with  manners  may  I    sing,   Sonnet 


INDEX  TO  SHAKSPERE'S  WORKS.  249 

Old  age.     See  Age. 

Oldcastle,  Sir  John,  was  the  name  first  given  to  Falstaff,  as  it 
was  the  name  of  the  character  in  the  old  play  that  furnished  the 
hint  for  him.  It  was  changed  because  it  was  taken  to  be  intended 
for  a  real  Sir  John  Oldcastle,  who  had  been  page  to  the  Duke  of 
Norfolk  (said  of  Falstaff  in  II.  Henry  IV.,  Hi.  £),  and  was  after- 
ward, as  Lord  Cobham,  a  Lollard  or  Wickliffite,  who  fell  a  martyr 
to  his  faith.  The  Protestants  were  scandalized  and  the  Catholics 
gratified  by  the  supposed  portrait  of  the  Lollard  martyr.  Shakspere 
then  changed  the  name,  and  in  the  epilogue  to  //.  Henry  IV.  says, 
speaking  of  Falstaff,  "  For  Oldcastle  died  a  martyr,  and  this  is  not 
the  man."  In  /.  Henry  IV.,  i.  2,  the  prince  calls  him  "  my  old  lad 
of  the  castle." 

O  lest  the  world  should  task  you  to  recite,  Sonnet  Ixxii. 

Oliver,  a  character  in  As  You  Like  It,  elder  brother  of  Orlando, 
appears  in  the  first  scene.  "  In  this  eldest  son  of  the  brave  Rowland 
de  Boys  there  flows  the  same  vein  of  avarice  and  envy  as  in  the  duke. 
He  strives  to  plunder  his  brother  of  his  poor  inheritance ;  he  under- 
mines his  education  and  gentility ;  he  first  endeavors  to  stifle  his 
mind,  and  then  he  lays  snares  for  his  life  ;  all  this  he  does  from  an 
undefined  hatred  of  the  youth  who,  he  is  obliged  to  confess,  is  '  full 
of  noble  device,'  but  who,  for  this  very  reason,  draws  away  the  love 
of  all  his  people  from  Oliver  to  himself,  and  on  this  account  excites 
his  envious  jealousy."  On  Orlando's  saving  his  life,  he  "  experiences 
a  sudden  change  of  heart,  and  proposes  to  give  up  all  his  possessions 
to  Orlando,  marry  the  supposed  shepherdess  Aliena,  and  live  and 
die  a  shepherd." 

Olivers,  /.  Henry  VI.,  i.  2.  Oliver  was  one  of  Charlemagne's 
twelve  peers. 

Olivia,  character  in  Twelfth  Night,  introduced  in  i.  5,  beloved 
by  the  duke,  whom  she  rejects,  and  falls  in  love  with  his  man  Cesa- 
rio,  who  comes  to  urge  his  master's  suit.  She  anticipates  Priscilla 
Mullens  by  telling  the  ambassador : 

"  But  would  you  undertake  another  suit, 
I  had  rather  hear  you  to  solicit  that 
Than  music  from  the  spheres." 

Olympian  games,  ///.  Henry  VI.,  ii.  3 ;   Troilus  and  Cres- 
"  .    v.  5. 

Olympus,  Hamlet,  v.  1;  Coriolanus,  v.  3 ;  Titus  Andronicus, 

1.    The  mountain  of  the  gods. 

Oxnens,  unnatural  reasons,  Midsummer-Niffhfs  Bream,  ii.  2 ; 


250  INDEX  TO  SHAKSPERE'S  WORKS. 

live  moons,  King  John,  iv.  2 ;  of  anarchy,  Richard  II..  ii.  4;  night- 
owls,  Richard  II..  Hi.  3  ;  at  Glendower's  birth,  /.  Henry  IV.,  Hi.  1  ; 
of  evil,  II.  Henry  IV.,  iv.  4 ,'  Gloucester's  dream,  II.  Henry  VI.,  i. 
2 ;  at  Richard's  birth,  ///.  Henry  VI.,  v.  6 ;  Stanley's  dream,  Rich- 
ard III.,  Hi.  2 ;  du  stumbling  horse,  Richard  III.,  Hi.  4;  a,  tempest 
after  a  treaty  of  peace,  Henry  VIII.,  i.  1;  irregularity  of  planets, 
Troilus  and  Cressida,  i.  3 ;  Andromache's  dream,  Troilus  and  Cres- 
sida,  V.  3 ;  stumbling  at  graves,  Romeo  and  Juliet,  v.  3 ;  dreams, 
Julius  Ccesar,  i.  3 ;  ii.  2 ;  v.  1 ;  the  raven  is  hoarse  that  croaks, 
Macbeth,  i.  5 ;  the  owl,  Macbeth,  ii.  2,  3 ;  of  death,  Macbeth,  ii.  3, 
4 ;  the  ghost — of  Caesar's  death,  Hamlet,  i.  1 ;  swallows'  building, 
Antony  and  Cleopatra,  iv.  10  or  12 ;  should  have  shown  the  death 
of  Antony,  Antony  and  Cleopatra,  v.  1 ;  of  success,  Cymbeline,  iv, 
2,  "  Last  night  the  very  gods,"  etc. ;  fear  caused  by,  Venus  and 
Adonis,  I.  924;  the  three  suns.  See  Suxs.  See  also  Dreams  and 
Portents. 

O  me  what  eyes  hath  love  put  in  my  head,  Sonnet  cxlviii. 

O  mistress  mine,  song.  Twelfth  Night,  ii.  3. 

Omittance,  is  no  quittance.  As  You  Like  It,  Hi.  v, 

Omne  bene  (all  well).  Love's  Labour's  Lost,  iv.  2. 

On  a  day,  alack  the  day,  Passionate  Pilgrim,  xvH. 

One  fair  daughter,  Hamlet,  ii.  2.  Part  of  an  old  ballad  be- 
ginning : 

"  I  have  read  that  many  years  agoe, 
When  Jephtha,  judge  of  Israel, 
Had  one  fair  daughter  and  no  moe." 

One,  the  number,  Romeo  and  Juliet,  i.  2 ;  Sonnet  cxxxvi.,  "  One 
is  no  number." 

O  never  say  that  I  was  false  of  heart.  Sonnet  cix. 

Onions,  to  draw  tears.  Taming  of  the  Shrew,  induction,  1 ;  AlVs 
WeU  that  Ends  Well,  v.  3,  near  end ;  Anto7iy  and  Cleopatra,  i.  3 ; 
iv.  2. 

Ooze,  of  the  Nile,  Antony  and  Cleopatra,  ii.  7. 

Opal,  thy  mind  is  a  very.  Twelfth  Night,  ii.  4. 

Ophelia,  heroine  of  Hamlet,  introduced  in  i.  3 ;  her  madness, 
IV.  5  or  2;  her  death,  iv.  7  or  4;  burial,  v.  1, 

"  Whenever  we  bring  her  to  mind,  it  is  with  the  same  exclusive 
sense  of  her  real  existence,  without  reference  to  the  wondrous  power 
that  called  her  into  life.  The  effect — and  what  an  effect ! — is  pro- 
duced by  means  so  simple,  by  strokes  so  few  and  so  unobtrusive,  that 
we  take  no  thought  of  them.  It  is  so  purely  natural  and  unsophis- 
ticated, yet  so  profound  in  its  pathos,  that,  as  Hazlitt  observes,  it 


INDEX  TO  SHAESPERE'S   WORKS.  251 

takes  us  back  to  the  old  ballads ;  we  forget  that,  in  its  perfect  art- 
lessness,  it  is  the  supreme  and  consummate  triumph  of  art.  ...  As 
the  character  of  Hamlet  has  been  compared,  or  rather  contrasted, 
with  the  Greek  Orestes,  being  like  him  called  on  to  avenge  a  crime 
by  a  crime,  tormented  by  remorseful  doubts,  and  pursued  by  distrac- 
tion, so,  to  me,  the  character  of  Ophelia  bears  a  certam  relation  to 
that  of  the  Greek  Iphigenia,  with  the  same  strong  distinction  between 
the  classical  and  the  romantic  conception  of  the  portrait.  Iphigenia 
led  forth  to  sacrifice,  with  her  unresisting  tenderness,  her  mournful 
sweetness,  her  virgin  innocence,  is  doomed  to  perish  by  that  relent- 
less power  which  has  linked  her  destiny  with  crimes  and  contests  in 
which  she  has  no  part  but  as  a  sufferer ;  and  even  so  poor  Ophelia, 
'  divided  from  herself  and  her  fair  judgment,'  appears  here  like  a 
spotless  victim  offered  up  to  the  mysterious  and  inexorable  Fates." 
— Mrs.  Jameson. 

Opinion,  may  be  worn  on  both  sides,  like  a  leather  jerkin,  Troi- 
lus  and  Cressida,  Hi.  3 ;  if  I  bleed  for  my,  1.  Henry  VL,  ii.  4  J  sov- 
ereign mistress  of  effects,  Othello,  i.  3  ;  fool's  gudgeon.  Merchant  of 
Venice,  i.  i;  a  fool,  Pericles,  ii.  2 ;  (dogmatism),  Love's  Labour's 
Lost,  V.  1,  "  Learned  without  opinion ; "  (reputation),  lost,  /.  Henry 
IV.,  V.  4. 

Opinions,  holding  popular,  II.  Henry  IV.,  ii.  2,  "  Never  a  man's 
thought,"  etc.;  golden,  JIacbeth,  i.  7 ;  caution  in  expressing,  Ham- 
let, i.  3;  influenced  by  conduct,  Antony  and  Cleopatra,  Hi.  11, 
"  When  we  in  our  viciousness,"  etc. ;  new  and  dangerous,  Henry 
VIII.,  V.  2;  depend  on  one's  own  character,  /.  Henry  VL,  v.  4; 
Sonnet  cxxi. ;  on  the  time,  Coriolanus,  iv.  7 ;  there's  nothing  good 
or  bad  but  thinking  makes  it  so,  Hamlet,  ii.  2. 

Opportunity,  The  Tempest,  i.  2,  "  I  find  my  zenith,"  etc. ;  to 
sin.  Measure  for  Measure,  ii.  1;  King  John,  iv.  2 ;  let  slip.  Twelfth 
Night,  Hi.  1,  "  She  did  show,"  etc. ;  Richard  II.,  Hi.  2  ;  III.  Henry 
VL,  iv.  8,  "  A  little  fire,"  etc. ;  Julius  Ccesar,  iv.  3,  "  There  is  a  tide," 
etc. ;  once  lost,  Antony  and  Cleopatra,  ii.  7,  "  Who  seeks  and  will 
not  take  when  once  'tis  offered,"  etc. ;  guilt  of,  Lucrece,  I.  876.  See 
also  Delay. 

Oppression.     See  Tyranny. 

Oppressors,  league  of.  King  John,  Hi.  1. 

Oracle,  I  am  Sir,  Merchant  of  Venice,  i.  1. 

Oracle,  the  Delphic,  appealed  to,  A  Winter's  Tale,  Hi.  1 ;  the 
answer,  Hi.  2 ;  fulfilled,  v.  2 ;  of  Jupiter,  Cymbeline,  v.  5. 

Oracles,  ambiguous,  II.  Henry  VI.,  i.  4. 

Orator,  I  am  no,  Julius  Ccesar,  Hi.  2 ;  to  play  the,  III.  Henry 
VL,  i.  2  ;  Hi.  2  ;  Richard.  III.,  Hi.  5. 


252 


INDEX  TO  SHAKSPEBE'S  WORKS, 


Oratory,  popular,  Coriolanus,  Hi,  2, 

Orbs  (orbits),  Pericles,  i.  2, 

Orchard  (garden),  Much  Ado  about  Nothing,  ii.  3 ;  Romeo  and 
Juliet,  a.  1. 

Order,  results  of  disregard  of,  Troilus  and  Cressida,  i.  3. 

Order  and  Dates  of  the  Plays  and  Poems.  The  following 
table  shows  the  dates  of  publication  of  the  plays  and  poems,  so  far 
as  is  known,  together  with  the  order  in  which  they  were  written  and 
the  dates  of  writing  as  nearly  as  can  be  determined  from  contem- 
porary allusions,  the  decisions  of  critics  on  internal  evidence,  etc. 
The  more  or  less  sparing  use  of  rhyme  is  one  of  the  chief  tests,  the 
earlier  plays  abounding  in  it  much  more  than  the  later. 


Plays.                           Supposed  date  of  writing. 

First  publication. 

Titus  Andronicus, 

1585-'90, 

1600 

Love's  Labour's  Lost, 

1588-'90, 

1598 

Comedy  of  Errors, 

1589-'93, 

1623 

Midsummer-Night's  Dream, 

1590-'92  (1593- 

'94), 

1600 

Two  Gentlemen  of  Verona, 

1590-'92  (1592-^ 

•93), 

1623 

L  Henry  VL, 

1590-'92, 

1623 

IL  and  in.  Henry  VI., 

1590-'4  (worked 

.  over,  1600- 

■'3),  1623 

Romeo  and  Juliet, 

1591-'93,  revised  1596, 

1597 

Venus  and  Adonis, 

1592-'93, 

1593 

Lucrece, 

1593-'94, 

1594 

Richard  II., 

1593-'97, 

1597 

Richard  III., 

1593-'94, 

1597 

A  Lover's  Complaint, 

1595-'97, 

1609 

Merchant  of  Venice, 

1594-'96, 

1600 

King  John, 

1595-'96, 

1623 

Taming  of  the  Shrew, 

1596-'97, 

1623 

I.  Henry  IV., 

1596-'98, 

1598 

11.  Henry  IV., 

1597-'99, 

1600 

Merry  Wives  of  Windsor, 

1597-1601, 

1602 

Sonnets, 

before  1598, 

1609 

Henry  V, 

1599, 

1600 

Much  Ado  about  Nothing, 

1598-1600, 

1600 

As  You  Like  It, 

1599-1600, 

1623 

The  Phoenix  and  the  Turtle, 

1600, 

1601 

Twelfth  Night, 

1600-'l, 

1623 

Julms  Caesar, 

1600-'l, 

1623 

All's  WeU  that  Ends  Well, 

1601-3  (in  present  form), 

1623 

INDEX  TO  SHAKSPERE'S  WORKS.  253 


Plays. 

Supposed  date  of  writing. 

First  publication. 

Hamlet, 

1600-'3, 

1604 

Measure  for  Measure, 

1603-'4, 

1623 

Othello, 

1604, 

1622 

King  Lear, 

1605-'6, 

1608 

Antony  and  Cleopatra, 

1605-'8, 

1623 

Macbeth, 

1605-'9, 

1623 

Troilus  and  Cressida, 

1606-'8, 

1609 

Timon  of  Athens, 

1607-'10, 

1623 

Coriolanus, 

1607-'13, 

1623 

Pericles, 

1608, 

1609 

The  Tempest, 

1610, 

1623 

Cymbeline, 

1610-'12, 

1623 

A  Winter's  Tale, 

1611, 

1623 

Henry  VIII., 

1612-'13, 

1623 

Ordinaries,  AlVs  Well  that  Ends  Well,  ii.  3.  Meals  at  an  ordi- 
nary or  inn. 

Orgulous  (proud).  Troilus  and  Cressida,  prologue. 

Original  sin,  A  Wiiiter's  Tale,  i.  2,  "  The  imputation  hereditary 
ours." 

Or  I  shall  live  your  epitaph  to  make,  Sonnet  Ixxxi. 

Orisons,  Henry  V.,  iv.  2 ;  III.  Henry  VI.,  i.  4;  Romeo  and 
Juliet,  iv,  3  ;  Hamlet,  Hi.  i;  Cymbeline,  i.  4. 

Orlando,  hero  of  As  You  Like  It,  introduced  at  the  beginning. 
He  is  foully  wronged  by  his  elder  brother,  who  is  jealous  of  his  noble 
qualities  and  the  love  they  gain  for  him,  and,  not  satisfied  with 
wronging  him  out  of  his  patrimony,  wishes  to  degrade  him  by  neg- 
lect into  a  churl.  "  Throughout  we  see  the  healthful,  self-contained, 
calm  nature  of  a  youth  which  promises  a  perfect  man.  .  .  .  What  a 
shaming  contrast  to  the  calumniator  Jaques,  whom  he  thus  an- 
swers, when  he  invites  him  to  rail  with  him  against  the  deceitful 
world :  '  I  will  chide  no  breather  in  the  world  but  myself,  against 
whom  I  know  most  faults ! ' " 

Orleans,  Charles  d'Angouleme,  Duke  of,  character  in  Henry  Y., 
first  appears  in  Hi.  7.  He  was  taken  prisoner  at  Agincourt,  and  was 
kept  in  the  Tower  for  twenty-five  years.   His  son  reigned  as  Louis  XII, 

Orleans,  the  Bastard  of.  character  in  I.  Henry  YI.,  spoken  of  in 
I.  1,  first  appears  in  i.  2,     He  was  Count  of  Dunois  and  Longue- 
ville,  and  is  known  under  the  former  name  as  one  of  the  greatest 
soldiers  of  his  time. 
17 


254  INDEX  TO  SHAKSPERE'S  WORKS. 

Orleans,  siege  of  (1428-'29),  Z  Henry  VL,  i.  1,  2,  ^  5;  ii.  1. 

Ornament,  the  world  deceived  with,  Merchant  of  Venice^ 
Hi.  2. 

Ornaments,  oft  prove  dangerous,  A  Winter's  Tale,  i.  2. 

Orodes,  Antony  and  Cleopatra,  Hi.  1. 

Orpheus,  the  lute  of,  Two  Gentlemen  of  Verona,  Hi.  2 ;  legend 
of.  Merchant  of  Venice,  v.  1 ;  song,  Henry  VIII.,  Hi.  1 ;  playing  of, 
Lucrece,  I.  553.  A  traditionary  poet,  musician,  and  philosopher  of 
Greece,  whose  skill  at  the  lyre  was  such  that  the  wild  beasts  of  the 
forests  gathered  around  him  to  hear  his  playing.  In  his  grief  at  the 
loss  of  his  wife,  Eurydice,  he  determined  to  descend  to  Hades  to 
induce  the  powers  there  to  release  her.  The  music  of  his  lyre  so 
charmed  the  deities  of  the  lower  world  that  they  agreed  to  let  Eu- 
rydice follow  him  to  the  upper  world,  on  condition  that  he  should 
not  look  back  on  her  till  they  had  passed  the  borders  of  Hades.  But 
he  could  not  keep  the  condition,  and  she  vanished. 

Orsino,  Duke  of  Illyria,  character  in  Twelfth  Night,  introduced 
in  the  first  scene,  in  love  at  first  with  Olivia  after  a  sentimental  and 
unconsciously  insincere  fashion,  but  of  a  refined  and  lovable  nature — 
"  Of  great  estate,  of  fresh  and  stainless  youth. 
In  voices  well  divulged,  free,  learned,  and  valiant." 

Orthography,  rackers  of.  Lovers  Labour's  Lost,  v.  L 

Ort(s)  (scraps,  leavings),  Timon  of  Athens,  iv.  3 ;  Troilus  and 
Cressida,  v.  2, 

Or  whether  doth  my  mind,  being  crowned  with  you, 
Sonnet  cxiv. 

Osprey,  the,  Coriolanus,  iv.  7.  Allusion  to  a  supposed  fascina- 
tion the  osprey  exercised  over  fish. 

Osric,  a  courtier,  character  in  Hamlet,  appears  in  v.  2.  His 
affected  manner,  which  is  ridiculed  by  Hamlet  and  Horatio,  is  prob- 
ably a  satire  on  the  foppish  gallants  of  Shakspere's  own  time. 

Ossa,  Hamlet,  v.  L  A  mountain  in  Thessaly,  one  of  those  that 
the  giants  were  said  to  have  piled  upon  Olympus  in  their  war  with 
the  gods,  in  order  to  reach  heaven. 

Ostent  (appearance,  display).  Merchant  of  Venice,  ii.  2,  8. 

Ostentation,  Love's  Labour's  Lost,  v.  2 ;  Coriolanus,  i.  6 ;  II. 
Henry  IV.,  ii.  2 ;  Hamlet,  iv.  5;  of  mourning,  Much  Ado  about 
Nothing,  iv.  1. 

Ostrich,  eat  iron  like  an,  II.  Henry  VL,  iv.  10. 

Oswald,  the  knavish  steward  of  Goneril  in  King  Lear,  intro- 
duced in  *.  3  ;  Kent's  opinion  of  him,  ii.  2  ;  his  death,  iv.  6. 


INDEX  TO  SHAKSPERE'S   WORKS.  255 

"The  only  character  of  utter,  irredeemable  baseness  in  Shak- 
spere." — Coleridge. 

0  that  you  were  yourself,  Sonnet  xiii. 

Othello,  is  introduced  in  the  second  scene  of  the  play ;  his  de- 
fence before  the  senate,  i.  3 ;  in  Cyprus,  ii.  1 ;  his  jealousy  aroused, 
Hi.  3;  confirmed,  iv.  1;  kills  Desdemona  and  himself,  v.  2. 

"He  is  of  a  free  and  noble  nature,  naturally  trustful,  with  a  Idhd 
of  grand  innocence,  retaining  some  of  his  barbaric  simpleness  of  .soul 
in  midst  of  the  subtle  and  astute  politicians  of  Venice,  He  is  gieat 
in  simple  heroic  action,  but  unversed  in  the  complex  affairs  of  life, 
and  a  stranger  to  the  malignant  deceits  of  the  debased  Italian  char- 
acter."— DOWDEN. 

"  The  noblest  man  of  man's  making." — Swinburne. 

"  Between  lago  and  Othello  the  position  of  Desdemona  is  precise- 
ly that  defined  with  such  quaint  sublimity  of  fancy  in  the  old  Eng- 
lish by- word,  'Between  the  devil  and  the  "deep  sea.'  Deep  and  pure 
and  strong  and  adorable  always,  and  terrible  and  pitiless  on  occasion 
as  the  sea,  is  the  great  soul  of  the  glorious  hero  to  whom  she  has 
given  herself:  and  what  likeness  of  man's  enemy,  from  Satan  down 
to  Mephistopheles,  could  be  matched  for  danger  and  for  dread 
against    the  good,   bluff,   soldierly,   trustworthy   figure   of    honest 

1  ?  " — Swinburne. 


Othello,  the  Moor  of  Venice.  This  play  was  first  published  in 
1622,  though  it  had  been  on  the  boards  for  years,  and  was  a  favour- 
ite play.  The  first  authentic  mention  of  it  is  in  a  diary  kept  by  one 
Wurmsser,  who  was  in  the  suite  of  the  Duke  of  Wiirtemberg  when 
he  visited  England  in  1610.  The  allusion  to  the  new  heraldry  in 
iii.  4  is  to  the  new  order  of  baronetage  established  by  the  king  in 
1611,  a  red  hand  being  on  the  arms  of  the  order.  But  this  may 
have  been  introduced  long  after  the  play  was  written.  It  is  gener- 
ally agreed  that  it  is  of  the  same  period  as  Hamlet,  3Iacbeth,  and 
King  Lear.  The  source  whence  Shakspere  drew  the  outline  of  the 
plot  and  the  name  of  the  heroine  was  an  Italian  story  by  Giraldo 
Cinthio,  published  in  1565.  The  time  of  the  play  is  the  year  1570, 
when  Cyprus  was  invaded  by  the  Turks. 

"  The  picturesque  contrasts  of  character  in  this  play  are  almost 
as  remarkable  as  the  depth  of  the  passion.  The  Moor  Othello,  the 
gentle  Desdemona,  the  villain  lago,  the  good-natured  Cassio,  the 
fool  Roderigo.  present  a  range  and  variety  of  character  as  striking 
and  palpable  as  that  produced  by  the  opposition  of  costumes  in  a 
picture." — Hazlitt. 

Othergates  (otherwise).  Twelfth  Night,  v.  1. 

O  thou  my  lovely  boy,  Sonnet  cxxvi. 

0  truant  Muse,  what  shall  he  thy  amends,  Sonnet  ci. 


256  INDEX  TO  SHAKSPERE'S    WORKS. 

Otter,  tlie,  neither  fish  nor  flesh,  /.  Henry  IV.,  Hi.  3. 

Ottomites,  Othello,  i.  3 ;  ii.  3.    Turks. 

Ouches  (bosses  of  gold),  II.  Henry  I Y.,  ii.  fy, 

Ouphes  (elves),  Merry  Wives  of  Windsor,  iv.  ^ ;  v.  5. 

Ousel  (blackbird),  the.  Midsummer-Nigh fs  Dream,  Hi.  1;  II. 
Henry  IV.,  Hi.  2, 

Outcast,  an,  Macbeth,  Hi.  1 ;  I.  Henry  1 V.,  iv.  3. 

Outlaws,  a  band  of,  Two  Gentlemen  of  Verona,  iv.  1 ;  v.  3. 

Outside,  a  fair,  Romeo  and  Juliet,  Hi.  2,  "  0  serpent  heart,"  etc., 
Cymheline,  i.  L 

Outward  man,  an,  AlVs  Well  that  Ends  Well,  Hi.  1.  One  not 
in  the  secrets  of  state. 

Overdone,  Mistress,  a  procuress  in  Measure  for  Measure,  intro- 
duced in  i.  2. 

Ovid,  allusions  to  his  story  of  Philemon  and  Baucis  entertaining 
Jove  in  their  thatched  cottage,  Much  Ado  alout  Nothing,  ii.  1 ;  As 
You  Like  It,  Hi.  3  ;  as  Ovid  be  an  outcast.  Taming  of  the  Shrew,  i, 
1;  Metamorphoses  of,  Titus  Andronicus,  iv.  1;  quotations  from. 
Taming  of  the  Shrew,  Hi.  1;  Hie  ibat,  etc.,  Venus  and  Adonis, 
motto  ;  Love's  Labour^s  Lost,  iv.  2. 

Owe  (own),  All's  Well  that  Ends  Well,  ii.  1,  5  ;  King  John,  ii.  1 ; 
Macbeth,  i.  4  ;  Antony  and  Cleopatra,  iv.  8,  and  elsewhere. 

Owl,  the.  The  Tempest,  v.  1,  song ;  Love's  Labour's  Lost,  v.  2, 
song  ;  allusion  to  the  superstition  that  it  sucks  the  blood  of  infants 
and  changes  the  favour  of  children.  Comedy  of  Errors,  H.  2  ;  of  evil 
ovaQxi,  Midsummer- Night's  Dream,  v.  1;  I.Henry  VI.,  iv.  2;  IL 
Henry  VI.,  Hi.  2 ;  IIL  Henry  VI,  ii.  6 ;  v.  6 ;  Richard  HI,  iv.  4; 
Julius  Ccesar,  i.  3;  Macbeth,  ii.2 ;  ii.4;  Richard  II,  Hi.  3;  Titus 
Andronicus,  ii.  3  ;  Lear,  ii.  4 ,'  mocked  at  by  day.  III.  Henry  VI., 
V.  4;  was  a  baker's  daughter,  Hamlet,  iv.  5 ;  allusion  to  the  story 
that  a  baker's  daughter  reproved  her  father  for  giving  bread  to 
Christ,  crying,  "  Heugh !  heugh  ! "  in  derision,  and  was  turned  into 
an  owl  as  a  judgment.  An  owlet's  wing  was  placed  in  their  cauldron 
by  the  witches,  Macbeth,  iv.  L 

Oxford,  John  de  Vere,  thirteenth  Earl  of,  character  in  III  Heii- 
ry  YL  and  in  Richard  III,  an  adherent  of  the  House  of  Lancaster, 
and  one  of  the  most  powerful  supporters  of  Richmond.  In  Rich- 
ard III,  ii.  1,  he  is  spoken  of  as  having  been  at  Tewksbury,  as  he 
was  not  in  reality,  having  fled  to  France  after  the  battle  of  Barnet. 
He  afterward  seized  St.  Michael's  Mount  in  Cornwall,  was  besieged, 
taken,  and  imprisoned  at  Hamnes  Castle  in  Picardy,  III.  Henry  F7., 


INDEX  TO  SHAKSPERE'S  WORKS.  257 

V.  5.  He  went  with  the  governor  of  the  castle  to  join  Hichmond, 
and  fought  for  him  at  Bosworth.  Henry  YII.,  with  whom  he  was 
high  in  favour,  bestowed  various  offices  upon  him.  He  is  introduced 
'in  Hi.  3  of  the  former  play ;  v.  2  of  the  latter.  His  father  and  broth- 
er were  attainted  and  beheaded  on  the  accession  of  Edward  IV.  He 
speaks  of  it  in  Hi.  3. 

Oxford  University,  Henry  VIII.,  iv.  2. 

Oxlips,  A  Wintefs  Tale,  iv.  Son 4;  Midsummer-Nigh fs  Dream, 

a.  2. 

Oyster,  the  world's  my,  Merry  Wives  of  Windsor,  ii.  2.  There 
was  a  saying,  "  The  Mayor  of  Northampton  opens  oysters  with  his 
dagger."  Canst  tell  how  an  oyster  makes  his  shell.  King  Lear,  i.  5  ; 
love  may  transform  me  to  an,  Much  Ado  about  Nothing,  ii.  3 ;  this 
treasure  of  an,  Antony  and  Cleopatra,  i.  5 ;  as  much  as  an  apple 
doth  resemble  an  oyster,  Taming  of  the  Shrew,  iv.  2 ;  off  goes  his 
bonnet  to  an  oyster-wench,  Richard  IL,  i.  4. 

Pace,  Doctor  Richard,  Henry  VIII.,  ii.  2.  He  was  Vicar  of 
Stepney,  and  one  of  Wolsey's  secretaries. 

Packing  (plotting).  Taming  of  the  Shrew,  v.  1,  and  else- 
ivhere. 

Pacorus,  son  of  Orodes,  King  of  Parthia,  killed  by  Ventidius, 
Antony  and  Cleopatra,  Hi.  1. 

Paddock,  the  toad,  3Iacheth,  i.  1.  Toads  as  well  as  cats  were 
familiars  of  witches. 

Padua,  Italy,  scene  of  the  Taming  of  the  Shrew ;  called  the 
nurseiw  of  arts,  i.  1. 

Pagan(s),  /.  Henry  IV.,  ii.  3 ;  II.  Henry  IV.,  ii.  2;  Henry 
VIII.,  i.  3  ;  most  beautiful,  Merchant  of  Venice,  ii.  3. 

Page,  a,  in  Ricliard  III.,  iv.  2,  supposed  to  be  John  Green,  who 
was  rewarded  for  his  share  in  the  murder  of  the  princes  by  the  re- 
ceivership of  the  lordships  of  Porchester  and  the  Isle  of  Wight. 

Page,  Anne,  character  in  the  Merry  Wives  of  Windsor,  intro- 
duced in  i.  1.  She  has  seven  hundred  pounds  left  her  by  her  grand- 
father, and  is  sought  by  three  suitors — one  favoured  by  her  father, 
one  by  her  mother,  and  the  third  by  herself. 

Page,  George,  character  in  the  Merry  Wives  of  Windsor,  intro- 
duced in  i.  1.  Unlike  Ford,  he  has  confidence  in  his  wife.  They 
are  both  outwitted  by  their  daughter,  who  marries  Fenton  while 
they  are  trying  to  outwit  each  other  and  marry  her,  the  one  to  Doc- 
tor Caius,  the  other  to  Slender. 


258  INDEX  TO  SSAKSPERE'S  WORKS. 

Page,  Mistress,  one  of  the  Merry  Wives  of  Windsor.  See  Ford, 
Mistress. 

Page,  William,  a  school-boy  in  the  Merry  Wives  of  Windsor, 
examined  in  Latin  by  Parson  Evans  in  iv.  1. 

Pageant(s),  As  You  Like  It,  ii.  7 ;  Hi.  4>'  Richard  III.,  iv.4; 
of  spirits,  2  he  Tempest,  iv.  1 ;  of  clouds,  Antony  and  Cleopatra,  iv. 
12  or  14;  Two  Gentlemen  of  Verona,  iv.  3 ;  Troilus  and  Cressida, 
iv.  3 ;  Othello,  i.  3.  The  pageants  were  a  kind  of  play  like  that  of 
the  Xine  Worthies  in  Love's  Labour^s  Lost. 

Pages,  characters  in,  As  You  Like  It,  Taming  of  the  Shrew,  and 
Romeo  ajid  Juliet.  , 

Paid,  he  is  well,  that  is  well  satisfied.  Merchant  of  Venice, 
iv.  1. 

Paiii(s),  delights  that  are  purchased  with.  Lovers  Labour^s  Lost, 
i.  1 ;  one  lessened  by  another,  Romeo  and  Juliet,  i.  2  ;  pays  for  every 
treasure,  Lucrece,  I.  334. 

Painted  cloth,  (tapestry).  As  You  Like  It,  Hi.  2 ;  Lovers  La- 
bour's Lost,  V.  2  ;  Lazarus  in  the,  I.  Henry  IV..  iv.  2 ;  maxims  on, 
Lucrece,  I.  245.     See  also  Tapestry. 

Painter,  a,  character  in  Timon  of  Athens,  introduced  in  the  first 
scene,  where  he  is  seeking  patronage  from  Timon.  In  v.  1,  having 
heard  that  Timon  has  found  a  treasure,  he  returns  to  flatter  him. 

Painter,  mine  eyes  have  played  the.  Sonnet  xxiv. 

Painting,  Taming  of  the  Shrew,  induction,  i.;  praise  of  a,  Ti- 
mon of  Athens,  i.  1 ;  of  the  siege  of  Troy,  Lucrece,  I.  1368. 

Painting,  of  the  skin,  Cymheline,  Hi.  4;  Timon  of  Athens,  iv. 
3 ;  Hamlet,  Hi.  1. 

Pajock  (peacock),  Hamlet,  Hi.  2.  The  peacock  had  a  reputation 
for  evil  passion  as  well  as  vanity. 

Palabras  (words),  Much  Ado  about  Nothing,  Hi.  4. 

Palace,  full  of  tongues,  etc.,  Titus  Andronicus,  H.  1. 

Palaces,  gorgeous,  The  Tempest,  iv.  1. 

Palatine,  the  Count,  one  of  the  suitors  of  Portia,  mentioned  m 
the  Merchant  of  Venice,  i.  2. 

Pale  (encircle),  III.  Henry  VI.,  i.  4' 

Pallas,  Minerva,  goddess  of  wisdom,  Titus  Andronicus,  iv.  1. 

Palliament,  Titus  Andronicus,  i.  1  or  2.  The  robe  worn  by 
the  candidate,  who  was  so  called  from  candidus,  white,  its  colour. 

Palm,  an  itching,  Julius  Ccesar,  iv.  3. 

Palmerfs),  Alls  Well  that  Ends  Welh  Hi.  5 ;  Richard  II. ,  in. 
3 ;  II.  Htnry  VI.,  v.  1 ;  Romeo  and  Juliet,  i.  5. 


INDEX  TO  SHAKSPERE'S   WORKS.  259 

Palmistry,  Merchant  of  Venice,  ii.  2,  Laiincelot's  speech  ; 
Othello,  lit.  4 ,'  Antony  and  Cleopatra,  i.  2. 

Pandarus,  a  character  in  Troilus  and  Cressida,  uncle  of  the  lat- 
ter, introduced  in  ^.  L  His  office  was  the  origin  of  the  noun  pan- 
der. In  m.  2,  at  the  end,  he  says,  "  Let  all  goers-between  be  called 
to  the  world's  end  after  my  name." 

"  Pandarus,  in  Chaucer's  story,  is  a  friendly  sort  of  go-between, 
tolerably  busy,  officious,  and  forward  in  bringing  matters  to  bear: 
but  in  Shakspere  he  has 'a  stamp  exclusive  and  professional';  he 
wears  the  badge  of  his  trade ;  he  is  a  regular  knight  of  the  game. 
The  difference  of  the  manner  in  which  the  subject,  is  treated  arises 
perhaps  less  from  intention,  than  from  the  different  genius  of  the 
two  poets.  There  is  no  double  entendre  in  the  characters  of  Chau- 
cer ;  they  are  either  quite  serious  or  quite  comic.  In  Shakspere  the 
ludicrous  and  ironical  are  constantly  blended  with  the  stately  and 
impassioned." — Hazlitt. 

Allusions  to,  Pleasure  for  Measure,  i.  3  ;  Twelfth  Night,  Hi.  1 ; 
Merry  Wives  of  Windsor,  i.  3 ;  Much  Ado  about  Nothing,  v.  2; 
Hamlet,  Hi.  4. 

Panders,  origin  of  the  word,  Troilus  and  Cressida,  Hi.  2,  end ; 
ill  requited,  Troilus  and  Cressida,  v,  11. 

Pandion,  King,  Passionate  Pilgrim,  xxi.   ■ 

Pandulph  (Pandulphus  de  Masca),  Cardinal,  legate  of  the  pope 
in  King  John,  introduced  in  Hi.  1,  a  wily  and  subtle  agent  in  the 
management  of  a  difficult  business.  It  was  not  he  but  Cardinal 
Grualo  who  tried  to  persuade  the  dauphin  to  wind  up  his  "  threaten- 
ing colours,"  V.  2. 

Pannonians,  Cymbeline,  Hi.  1,  7.  Pannonia  was  a  Roman  prov- 
ince, including  in  part  what  is  now  Hungary. 

Pantaloon,  the  lean  and  slippered.  As  You  Like  It,  H.  7 ;  the 
old.  Taming  of  the  Shrew,  Hi.  1. 

"  Pantaleone  was  a  stereotyped  character  in  old  Italian  come- 
dy, always  aged,  lean,  slippered,  and  wearing  loose  pantaloons." — 
White. 

Panthino,  servant  of  Antonio,  the  Two  Gentlemen  of  Verona 
i.  3. 

Pansy,  the,  Hamlet,  iv.  4;  called  love-in-idleness,  Midsummer- 
NighVs  Dream,  ii.  1. 

Paper  bullets,  of  the  brain,  Much  Ado  about  Nothing,  ii.  3. 

Paphos,  in  Cyprus,  The  Tempest,  iv.  1 ;  Pericles,  iv.,  induction ; 
Venus  a7id  Adonis,  I.  1193.     Paphos  was  sacred  to  Venus. 

Paracelsus,  AlFs  Well  that  E7ids  Well,  ii.  3.    A  philosopher. 


260  INDEX  TO  SHAKSPERE'S  WORKS. 

physician,  and  reputed  magician,  1493-1541,  who  used  metallic  medi- 
cines, while  Galen  preferred  vegetable. 

Paradise,  the  offending  Adam  out  of,  Henry  V.,  i.  1 ;  what  fool 
is  not  so  wise  to  lose  an  oath  to  win  a,  Love's  Lahoufs  Lost,  iv.  3. 

Paradox(es),  Timon  of  Athens,  in.  5  ;  Troilus  and  Cressida,  i. 
3;  OtheUo,  ii.  L 

Parasite(s),  Timon  of  Athens,  i.  2;  ii.  2  ;  Hi.  6  ;  King  Lear,  ii, 
4;  A  Winter's  Tale,  ii.  3 ;  King  John,  iv.  2 ;  Richard  II.,  Hi.  2 ; 
hope  is  a,  Richard  II,  ii.  2.    See  Flatterers. 

Parchment,  dangerousness  of,  //.  Henry  VI.,  iv.  2. 

Pard,  the,  more  pinch-spotted  than,  The  Tempest,  iv.  1 ;  bearded 
like.  As  You  Like  It,  ii.  7. 

Pardon,  nurse  of  second  woe,  Measure  for  Measure,  ii.  1 ;  god- 
dess of  the  night,  song,  3Iuch  Ado  about  Nothing,  v.  3  ;  prayers  for, 
Richard  II,  v.  3 ;  offer  of,  to  rebels,  I.  Henry  IV.,  iv.  3  ;  v.  1 ;  II. 
Henry  IV.,  iv.  1 ;  II.  Henry  VI,  v.  8 ;  royal  if  given  when  least 
expected,  Coriolanus,  v.  1 ;  when  the  offence  is  continued,  Hamlet, 
Hi.  3.    See  Forgiveness,  Mercy. 

Parent,  a,  suing  to  a  son,  Coriolanus,  v.  3.  See  Father, 
Mother. 

Parental  love,  ///.  Henry  VI.,  ii.  2 ;  v.  5 ;  A  Winter's  Tale, 
i.  2  ;  Coriolanus,  v.  3  ;  Macbeth,  iv.  2. 

Paris,  scene  of  a  part  of  AWs  Well  that  Ends  Well,  and  of  I. 
Henry  VI.,  Hi.  4;  iv.  1. 

Paris,  son  of  Priam,  King  of  Troy,  whose  elopement  with  Helen 
caused  the  Trojan  war,  character  in  Troilus  and  Cressida,  introduced 
in  i.  2.  Alluded  to  in  Taming  of  the  Shrew,  i.  2 ;  Lucrece,  lines 
U73,  U90  ;  I.  Henry  VI.,  v.  6. 

Paris,  a  character  in  Romeo  and  Juliet,  introduced  in  i.  2.  He 
is  a  kinsman  of  the  prince  and  a  suitor  for  Juliet,  who  is  commanded 
by  her  parents  to  accept  him.  He  is  killed  by  Romeo  at  Juliet's 
tomb,  v.  3. 

"  The  well-meaning  bridegroom,  who  thinks  that  he  has  loved 
Juliet  right  tenderly,  must  do  something  out  of  the  common  way ; 
his  sensibility  ventures  out  of  its  every-day  circle,  though  fearfully, 
even  to  the  very  borders  of  the  romantic.  And  yet  how  far  different 
are  his  death-rites  from  those  of  the  beloved !  How  quietly  he  scat- 
ters his  flowers  !  Hence  I  cannot  ask :  '  Was  it  necessary  that  this 
honest  soul,  too,  should  be  sacrificed  ?  Must  Romeo  a  second  time 
shed  blood  against  his  will  ?  '  Paris  belongs  to  those  persons  whom 
we  commend  in  life,  but  do  not  immoderately  lament  in  death ;  at 
his  last  moments  he  interests  us  especially  by  the  request  to  be  laid 
in  Juliet's  grave.    Here  Romeo's  generosity  breaks  forth,  like  a  flash 


INDEX  TO  SRAKSPERE'S   WORKS,  261 

of  light  from  darksome  clouds,  when  he  utters  the  last  words  of  bless- 
ing over  one  that  has  become  his  brother  by  misfortune." — Schlegel. 

Paris-garden,  Henry  VIII.,  v.  4.  A  bear-garden  on  the  Bank- 
side,  London. 

Parish-top,  Twelfth  Night,  i.  3.  A  large  top  was  usually,  kept 
in  each  village  in  England  for  the  amusement  of  the  villagers. 

Paritors,  Love's  Labour's  Lost,  Hi.  1,  end.  Otficers  of  the  spirit- 
ual court  who  serve  citations. 

Parle  (talk).  Two  Gentlemen  of  Verona,  i.  2,  and  elsewhere. 

Parliament,  at  Westminster,  IIL  Henry  VI.,  i.  1 ;  at  Bury  St, 
Edmund's,  11.  Henry  VI.,  Hi.  1. 

Parlous  (perilous),  As  You  Like  It,  Hi.  2,  and  elsewhere. 

ParoUes,  a  character  in  AlVs  Well  that  Ends  Well,  introduced 
in  the  first  scene.  The  name  signifies  "  words,"  and  Parolles  is 
wordy,  a  braggart,  and  a  treacherous  coward.  His  duplicity  is  re- 
vealed to  Bertram  in  an  amusing  scene,  the  third  of  the  fourth  act. 

Parricides,  Kirig  Lear,  ii.  1 ;  Ilacbeth,  Hi.  1. 

Parrots,  prophesy  like  the.  Comedy  of  Errors,  iv.  4.  It  was  a 
custom  to  teach  them  phrases  like  the  one  in  the  above  passage,  and 
say  they  prophesied.  Discourse  will  grow  commendable  in  none 
but,  Jlerchant  of  Venice,  Hi.  5 ;  clamourous  before  rain,  As  You 
Like  It,  iv.  1 ;  quaint  wings  of  the  popinjay,  /.  Henry  IV.,  i.  3  ;  of 
fewer  words  than  a,  /.  Henry  IV.,  ii.  4- 

Parrying,  skill  in.  Twelfth  Night,  v.  1 ;  I.  Henry  IV.,  ii.  4- 

Parson,  dreams  of  a,  Romeo  and  Jidiet,  i.  4. 

Parted  (endowed),  Troilus  and  Cressida,  Hi.  3. 

Parthians,  Antony  and  Cleopatra,  Hi.  1 ;  fight  flying,  Cymbe- 
line.  i.  7. 

Parting,  of  lovers.  Two  Gentlemen  of  Verona.  H.  2 ;  Merchant 
of  Venice,  ii.  7  ;  Romeo  and  Juliet,  ii.  2 ;  Hi.  5 ;  Troilus  and  Cres- 
sida, iv.  4 ;  Antony  and  Cleopatra,  i.  3 ;  iv.  4,  12,  15 ;  II.  Henry 
VL,  Hi.  2  ;  of  husband  and  wife,  1.  Henry  IV.,  Hi.  1 ;  Cymbeline, 
i.  4;  of  brother  and  sister,  Hamlet,  i.  3  ;  Antony  and  Cleopatra,  Hi. 
2 ;  of  friends.  Merchant  of  Venice,  H.  8 ;  Julius  Ccesar,  v.  1 ;  An- 
tony and  Cleopatra,  iv.  2 ;  of  Launce  from  his  family,  Two  Gentle- 
men of  Verona,  ii.  3  ;  of  Cromwell  from  Wolsey,  Henry  VIIL,  v.  2. 

Partition,  a  witty.  Midsummer- Nighf s  Dream,  v.  L 

Partition,  of  England  among  conspirators,  I.  Henry  IV.,  Hi.  1. 

Partlet,  Dame,  A  Winter's  Tale,  ii.  3  or  4;  I.  Henry  IV.,  1; 
Hi.  3.     The  hen  in  "  Reynard  the  Fox." 

Partridge,  the,  in  the  puttock's  nest,  II  Henry  V.,  Hi.  2. 


202  INDEX  TO  SHAKSPERE'S  WORKS, 

Pash  (smash),  TroiJus  and  Cressida,  ii.  3. 

Pass  (care),  II.  Henry  VI.,  iv.  2. 

Pass  (thought),  of  pate,  The  Tempest,  iv.  1. 

Pass,  defence  of  a,  Cymbeline,  v.  3. 

Passado  (pass  in  fencing).  Love's  Labour's  Lost,  i.  2,  end  ;  Ro- 
meo and  Juliet,  ii.  Jf. ;  Hi,  1. 

Passes  (doings  or  trespasses),  Measure  for  Measure,  v.  1. 

Passing-bell,  the,  //.  Henry  IV.,  i.  1;  Venus  and  Admiis,  I. 
7ul ;  Sonnet  Ixxi. 

Passion,  that  hangs  weights  on  the  tongue,  As  You  Like  It,  i. 
2 ;  dangers  of,  //.  Henry  VI..  v.  1,  •'  Take  heed  lest  by  your  heat," 
etc. ;  Henry  VIII.,  i.  1 ;  man  not  the  slave  of,  Hamlet,  Hi.  2 ;  a, 
torn  to  tatters,  Hamlet,  Hi.  2 ;  of  Lear,  King  Lear,  Hi.  1,  2,  4 ;  be- 
tween extremes  of,  King  Lear,  v.  3, 

Passionate  Pilgrim,  The,  the  name  given  to  a  collection  of 
poems  usually  included  in  Shakspere's  works,  though  many  of  them 
are  known  not  to  be  from  his  hand.  They  were  collected  and  printed 
with  his  name  in  1599  by  a  piratical  publisher.  Of  the  poems  com- 
posing it,  five  are  known  to  be  Shakspere's — namely,  those  begin- 
ning, •'  When  my  love  swears,"  '•  Two  loves  I  have,"  "  Did  not  the 
heavenly,"  "  If  love  make  me  forsworn,"  "  On  a  day,  alack  the  day," 
the  first  two  of  which  are  in  the  Sonnets  {cxxxviii.  and  cxliv.),  and 
the  others  in  Love's  Labour's  Lost,  published  in  1598.  Two  of  them 
are  by  Richard  Barnfield,  those  beginning,  "If  music  and  sweet 
poetry,"  "  As  it  fell  upon  a  day."  The  one  beginning,  "  Live  with 
me  and  be  my  love,"  is  by  Marlowe ;  and  the  answer,  "  If  that  the 
world,"  is  generally  attributed  to  Raleigh.  No.  xviii..  "  My  flocks 
feed  not,"  is  from  Weelkes's  "  Madrigals,"  published  in  1597.  The 
authorship  of  the  others  is  doubtful.     Swinburne  says  of  them  : 

"  The  rest  of  the  ragman's  gatherings  [excepting  the  poems  from 
Shakspere],  with  three  most  notable  exceptions  [Marlowe's  and  Barn- 
field's],  is  little  better,  for  the  most  part,  than  dry  rubbish  or  dis- 
gusting refuse ;  unless  a  plea  may  haply  be  put  in  for  the  pretty 
commonplaces  of  the  lines  on  a  'sweet  rose,  fair  flower,'  and  so 
forth ;  for  the  couple  of  thin  and  pallid,  if  tender  and  tolerable, 
copies  of  verse  on  '  Beauty  '  and  '  Good-Night,'  or  the  passably  light 
and  lively  stray  of  song  on  '  Crabbed  age  and  youth.' " 

The  second  title  given  to  the  latter  part  of  the  collection,  "  Son- 
nets to  Sundry  Notes  of  Music,"  was  in  the  original. 

Passy-measures.     See  Pa  van. 

Past,  the,  and  the  to-come,  seem  best,  //.  Henry  IV.,  i,  3 ;  good 
deeds  of,  forgotten,  Troilus  and  Cressida,  Hi.  3, 


INDEX  TO  SHAKSPERE'S   WORKS.  263 

Pastors,  that  do  not  practise  what  they  preach,  Hamlet,  i.  3, 

"PsiStry  (room  for  pastry),  Romeo  and  Juliet,  Hi,  4. 

Patay,  battle  of,  /.  Henry  VI.,  iv.  1. 

Patch,  Comedy  of  Errors,  Hi.  1,  2 ;  Macbeth,  v.  3,  and  others. 
Fool ;  originally  a  jester  in  a  patched  dress. 

Patches,  worse  than  rents.  King  John,  iv.  2. 

Patchery  (roguery),  Troilus  and  Cressida,  ii.  3;  Timon  oj 
Athens,  V.  1. 

Paths,  walking  in  trodden,  As  You  Like  It,  i.  3. 

Patience,  at  others'  troubles,  Comedy  of  Errors,  ii.  1 ;  exhorta- 
tion to,  Comedy  of  Errors,  Hi.  1,  Balthazar's  speech ;  under  sor- 
row, Much  Ado  about  Nothing,  v.  1 ;  opposed  to  fury.  Merchant  of 
Venice,  iv.  i  ;  on  a  monument,  Twelfth  Night,  ii.  4. ;  is  cowardice 
in  nobles,  Richard  IL,  i.  2  ;  what  goddess  she  be,  Troilus  and  Cres- 
sida, i.  1 ;  cool,  Hamlet,  Hi.  4  ;  prayer  for.  King  Lear,  ii.  4;  makes 
a  mockery  of  injury,  Othello,  i.  3 ;  they  are  poor  that  have  not, 
Othello,  ii.  3 ;  past,  Othello,  iv.  2 ;  is  sottish,  Antony  and  Cleopatra, 
iv.,  end;  gazing  on  kings'  graves,  Pericles,  v.  1 ;  a,  tired  mare,  Henry 
v.,  ii.  1;  grief  and,  Cymbeline,  iv.  2 ;  badge  of  the  Jews,  Merchant 
of  Venice,  i.  3  ;  sovereign  aid  of,  Tempest,  v.  1. 

Patience,  an  attendant  of  Queen  Katharine  in  Henry  VIII.,  in- 
troduced in  iv.  2. 

Patines,  Merchant  of  Venice,  v.  L 

"  A  patine  is  a  small,  flat  dish  or  plate  (for  holding  the  bread) 
used  with  the  chalice  in  the  administration  of  the  sacrament." — Dyce. 

Patricians,  complaint  against,  Coriolanus,  i.  1 ;  dividing  their 
power,  Coriolanus,  Hi.  1. 

Patrick,  Saint,  Hamlet  swears  by,  i.  5. 

Patriotism,  King  John,  v.  2;  Richard  IL,  ii.  1 ;  Hi.  2;  L 
Henry  IV..  iv.  3,  "  The  king  is  kind,"  etc. ;  a  woman's,  Coriolanus, 
i.  3 ;  of  Comenius,  Coriolanus,  Hi.  3 ;  of  Macduil,  Macbeth,  iv.  3 ; 
and  friendship,  Julius  Ccesar,  i.  2,  speech  of  Brutus,  "  Passion?  of 
some  difference,"  etc. ;  professed,  of  Brutus,  Julius  Ccesar,  lii.  2. 

Patroclus,  a  Grecian  general,  character  in  Troilus  and  Cressida, 
introduced  in  ii.  1.  In  i.  3  Ulysses  describes  his  mimicry  of  the 
other  Greek  leaders  for  the  amusement  of  Achilles. 

Pauca  verba  (few  words),  Love's  Labour's  Lost,  iv.  2. 

Paucas  pallabris  (few  words).  Taming  of  the  Shrew,  induc- 
tion, 1. 

Paul,  by  Saint,  a  favourite  oath  of  Richard  III.,  i.  1,  3 ;  Hi.  4; 
V.3, 


264  INDEX  TO  SBAKSPERE'S   WORKS. 

Paulina,  an  important  character  in  A  Winter's  Tale,  a  champion 
of  the  queen  against  the  jealous  king.  * 

"  Such  are  some  of  the  words  that  boil  over  from  the  stout  heart 
of  Paulina,  the  noblest  and  most  amiable  termagant  we  shall  any- 
where find,  when,  with  the  new-born'  babe  in  charge,  she  confronts 
the  furious  king.  He  threatens  to  have  her  burnt,"  and  she  replies 
instantly : 

" '  I  care  not ; 
It  is  an  heretic  that  makes  the  fire, 
Not  she  which  burns  in't.' 

If  her  faults  were  a  thousand  times  greater  than  they  are,  I  could 
pardon  them  all  for  this  one  little  speech ;  which  proves  that  Shak- 
spere  was,  I  will  not  say  a  Protestant,  but  a  true  Christian  intellectu- 
ally, at  least,  and  far  deeper  in  the  spirit  of  his  religion  than  a  large 
majority  of  the  .Church's  official  organs  were  in  his  day,  or,  let  me 
add,  have  been  any  day  since.  .  .  .  With  a  head  to  understand 
and  a  heart  to  reverence  such  a  woman  [Hermione],  she  unites  a 
temper  to  fight  and  a  generosity  to  die  for  her.  .  .  .  Loud,  voluble, 
violent,  and  viraginous,  with  a  tongue  sharper  than  a  sword,  and  an 
eloquence  that  fairly  blisters  where  it  hits,  she  has,  therewithal,  too 
much  honour  and  magnanimity  and  kind  feeling  either  to  use  them 
without  good  cause,  or  to  forbear  using  them  at  all  hazards  when 
she  has  such  cause." — Hudson. 

Paul's,  I  bought  him  in,  11.  Henry  IV.,  i.  2.  St.  Paul's  was  a 
resort  for  all  kinds  of  idlers,  and  men  out  of  service  were  to  be  found 
there  as  at  an  intelligence-office.    See  under  Proverbs. 

Pavan,  Twelfth  Night,  v.  1.  The  pavan  is  a  grave,  formal 
dance.  This  word  is  in  some  texts  paynim,  in  which  case  "  a  passy- 
measures  paynim "  is  interpreted,  a  heathen  past  measure.  With 
pavan,  passy- measures  may  be  understood  to  mean  pacing -measure. 

Payment,  fair,  for  foul  words,  Love's  Labour's  Lost,  iv.  1, 

Peace,  Heaven's,  but  not  the  King  of  Hungary's,  Measure  for 
Measure,  i.  2 ;  soldiers  and.  Measure  for  Measure,  i.  2 ;  to  all  that 
dare  not  fight.  Love's  Labour^ s  Lost,  i.  1 ;  made,  King  John,  ii.  1 ; 
Hi.  1 ;  fat  ribs  of.  King  John,  Hi.  3 ;  attempt  to  make,  between 
challenger  and  challenged,  RicTiard  II.,  i.  i;  a  breathing-space  for, 
/.  Henry  lY,,  i.  1;  made,  //.  Henry  /F.,  iv.  2 ;  Henry  V.,  v.  3 ;  I. 
Henry  VI.,  v.  1 ;  II.  Henry  VI.,  i.  1 ;  Henry  VIII.,  i.  1 ;  virtues 
becoming  in,  Henry  V.,  Hi.  1 ;  one  unfitted  for — the  piping  time  of, 
Richard  III,  i.  1 ;  desire  for,  Richard  III,  ii.  1 ;  above  earthly 
dignities,  Henry  VIIL,  Hi.  2 ;  prophesied  in  the  time  of  Elizabeth, 
Henry  VIIL,  v.  4  ;  shallow  boats  in  time  of,  Troilus  and  Cressida, 
i.  3 ;  an  apoplexy,  etc.,  Coriolanus,  iv.  5  ;  made  by  women,  Corio- 
lanus,  V.  3 ;  ratified,  Cymheline,  v.  5,  end. 


INDEX  TO  SHAKSPERE'S   WORKS.  265 

Peace-maker(s),  King  Edward  as  a,  Richard  III.,  ii.  1;  God's 
blessin-,-  on,  Macbetli,  ii.  k-  v        7      ^  cr 

Peacocks,  Juno's,  TU  Tempest,  iv.  1 ;  pride  of,  Lomedy  of  Er- 
rors,iv.3;  I  Henry  VI.,  Hi.  3;  Troilus  and  Cressida,  %u.  3 ;  Ham- 
let, Hi.  2. 

Pearls,  in  a  foul  oyster,  As  You  Like  It,  v.  4;  tears  trans- 
formed to,  Richard  III.  iv.  A;  alluding  to  the  notion  that  pearl 
oysters  open  on  a  certain  day  in  the  year  to  receive  ram-drops,  which 
then  become  pearls;  in  India,  Troilus  and  Cressida,  ^.  i;  a  union 
(a  large  pearl),  Hamlet,  v.  2;  a  rich,  thrown  away,  Othello,  v.2^_       ^ 

Pears,  poperin,  Romeo  and  Juliet,  ii.  1;  warden,  A  Winters 

Tale,iv.3.  ,..  ^„    t^  •••   ^ 

Peas-blossom,  a  fairy  in  the  Midsummer-Night  s  Dream,  in.  1. 
Peascod,  wooing  a.  As  You  Like  It,  ii.  ^.    Alluding  to  the  cus- 
tom of  using  the  pods  of  peas  in  divinations  of  lovers. 
Peat  (pet),  Taming  of  the  Shrew,  i.  L 
Peck,  Gilbert,  Henry  VIII.,  i.  1 ;  H.  1- 

Pedant,  a,  a  character  in  the  Taming  of  the  Shrew,  introduced 
in  iv.  2,  who  takes  the  name  of  Vincentio.  Another  pedant  m  the 
plays  is  Holof ernes  in  Love's  Labour's  Lost. 

Pedantry,  ridiculed  in  Love's  Labour's  Lost. 
Pedascule  (pedant).  Taming  of  the  Shrew,  Hi.  1. 
Pedlar,  a,  Autolycus  in  A  Winter's  Tale. 

Pedro,  Don,  Prince  of  Aragon,  character  in  Much  Ado  about 
Nothing,  introduced  in  i.  1,  a  good-humoured  meddler. 
Peeled  (bald,  tonsured),  I.  Henry  VI.,  i.  3. 
Peer  out,  Merry  Wives  of  Windsor,  iv.  2.     Allusion  to  a  chil- 
dren's rhyme  to  a  snail — 

"  Peer  out,  peer  out,  peer  out  of  your  hole, 
Or  else  I'll  beat  you  as  black  as  a  coal." 
Peevish  (foolish),  Comedy  of  Errors,  iv.  1,  k;  Richard  IlL,  iv. 
4 ;  (saucv),  Twelftli  Night,  i.  5. 

Peg-a-Ramsey,  Twelfth  Night,  ii.  3.    The  heroine  of  an  old 
song,  mistress  of  James  I.  of  Scotland. 

Pegasus,  L  Henry  IV.,  iv.  1 ;  Henry  V.,  Hi.  7.    The  winged 
horse  of  the  Muses. 

Pegasus,  the,  Taming  of  the  Shrew,  iv.  4.    An  inn  in  Genoa. 
The  arms  of  the  Middle  Temple,  and  a  popular  sign. 

Peise   or  peize  (to  weigh).  Merchant   of  Venice,  Hi.  2;  King 

John,  ii.  1. 

Pelican,  the,  Richard  II,  u.  1;  Hamlet,  iv.  5  or  2;  King  Lear, 


266  INDEX  TO  SHAKSPERE'S  WORKS. 

iii.  4.  Allusion  to  the  notion  that  young  pelicans  were  fed  on  their 
mother's  blood. 

Pelion,  Mount  (a  range  in  Thessaly),  Merry  Wives  of  Windsor, 
a.  1 ;  Hamlet,  v.  1.  The  giants  piled  Ossa  upon  Pelion  in  order  to 
climb  into  heaven. 

Pelting  (paltry),  Richard  II.,  ii.  1,  and  elsewhere. 

Pembroke,  William  Marshall,  Earl  of,  character  in  King  John, 
introduced  in  the  first  scene.  He  did  not  go  over  to  the  French  in- 
terest, as  represented  in  the  play,  but  his  son,  of  the  same  name, 
joined  the  Dauphin. 

Pembroke,  William  Herbert,  Earl  of,  character  in  ///.  Hem-y 
VI.,  introduced  in  iv.  1.  He  was  a  partisan  of  York.  He  was  be- 
headed in  1469.     Sir  Walter  Herbert  in  Richard  III.  was  his  son. 

Pembroke,  Jasper  Tudor,  Earl  of,  Richard  III.,  iv.  5,  He  was 
an  uncle  of  Richmond. 

Pem.broke,  Marchioness  of,  Anne  Boleyn  receives  the  title  of, 
Henry  VIII.,  ii.  3. 

Penalties,  unenforced,  Measure  for  Measure,  i.  4.    See  Pardon. 

Penance,  for  a  jealous  tyrant,  A  Winter's  Tale,  Hi.  2,  "  A  thou- 
sand knees,"  etc. 

Pendragon,  I.  Henry  VI.,  iii.  2.    Uther,  father  of  Arthur. 

Penelope,  her  spinning,  Coriolanus,  i.  3. 

Penelophon  (or  Zenelophon),  Love's  Labour's  Lost,  iv.  1.  The 
beggar-maid  loved  by  King  Cophetua. 

Penitence,  the  signal  for  mercy.  The  Tempest,  v.  1;  enough, 
Two  Gentlemen  of  Verona,  v.  4;  for  another's  fault.  Comedy  of 
Errors,  i.  2  ;  in  ashes.  King  John,  iv.  1. 

Penker,  Friar,  Ricliard  III.,  iii.  6.  Provincial  of  the  Augus- 
tine friars,  and  a  popular  preacher.     See  Shaw. 

Pensioners,  Merry  Wives  of  Windsor,  ii.  2;  Midsummer- 
Niglifs  Dream,  ii.  1.  Allusion  to  Elizabeth's  tall  gentlemen  pen- 
sioners, who  wore  an  abundance  of  gold  lace. 

Pentapolis,  scene  of  a  part  of  Pericles. 

Pentecost,  pageants  at,  Tivo  Gentlemen  of  Verona,  iv.  4- 

Penthesilea,  Tivelfth  Night,  ii.  3.     The  queen  of  the  Amazons. 

People,  dislike  of  being  gazed  at  by  the,  Measure  for  Measure, 
i.  1;  courting  the  common,  Richard  II.,  i.  4,'  liking  of  the,  in 
their  eyes,  Hamlet,  iv.  3  or  v.  7 ;  sympathy  of  the.  King  Lear,  iv.  3, 
*'  To  pluck  the  common  bosom ;  "  fickleness  of  the,  Antony  and  Cleo- 
patra, i.  3,  4  /  are  the  city,  Coriolanus,  iii.  1.     See  also  Plebeians. 

Pepin,  King,  when  he  was  a  boy,  Love's  Lahow's  Lost,  iv,  i;  a 


INDEX  TO  SHAKSPERE'S  WORKS.  267 

physician  that  could  raise,  AlVs  Well  that  Ends  Well,  ii.  1;  his 
title  to  the  throne,  Henry  F.,  i.  2  ;  counsellors  to,  Henry  VIIl.^  i.  S. 

Percy,  Henry.    See  Northumberland,  and  Hotspur. 

Percy,  Lady,  wife  of  Hotspur,  character  in  /.  Henry  IV.,  intro- 
duced in  ii.  3,  and  as  Hotspur's  widow  in  //.  Henry  IV.,  ii.  3,  where 
she  upbraids  Northumberland  for  sacrificing  his  son  by  his  delay. 
Her  name,  called  Kate  in  the  play,  was  Elizabeth,  She  was  a  sis- 
ter of  Mortimer. 

Percy,  Thomas.    See  Worcester. 

Perdita,  the  lost  daughter  of  Leontes  and  Hermione  in  A  Win- 
ter's Tale,  is  brought  up  as  a  shepherdess,  but  restored  to  her  parents 
at  the  age  of  sixteen.  Her  natural  grace  and  the  delicacy  and  eleva- 
tion of  her  nature,  the  strong  features  of  her  mother's  softened  by 
inexperience  and  girlish  light-heartedness,  make  her  one  of  the  most 
attractive  among  the  heroines  of  the  plays.  Her  character  is  exhibit- 
ed chiefly  in  iv.  4- 

Perdu,  Ki7ig  Lear,  iv.  7.    A  soldier  sent  on  a  forlorn  hope. 

Perdy  (par  Dieu),  Comedy  of  Errors,  iv.  4,  and  elsewhere. 

Peregrinate  (of  a  foreign  cast),  Love's  Labour's  Lost,  v.  1. 

Perfect  (certain),  A  Wi?ite?''s  Tale,  Hi.  3  or  4,  cind  elsewhere. 

Perfection,  AlVs  Well  that  Ends  Well,  ii.  1,  "  All  that  life  can 
rate,"  etc. ;  Othello,  ii.  i,  "  She  that  was  ever  fair,"  etc. ;  no  absolute, 
Lucrece,  I.  853. 

Performance,  Henry  VIII.,  i.  £;  a.  kind  of  testament,  Timon 
of  Athens,  v.  2. 

Perge  (go  on).  Lovers  Labours  Lost,  iv.  2. 

Periapts,  charms  worn  to  guard  from  danger,  /.  Henry  VI.,  v.  S. 

Pericles,  Prince  of  Tyre,  a  drama  first  published  in  1609 ;  it  was 
not  included  in  the  folio  of  1623.  Some  critics  suppose  it  to  be  the 
joint  production  of  Shakspere  and  another  or  others ;  that  the  first 
three  acts  were  not  his,  and  that  this  accounts  for  its  omission  from 
the  folio.  Others  think  he  wrote  it  at  an  early  period,  and  rewrote 
the  better  part  in  his  maturer  years.  It  is  known  to  have  been  very 
popular  on  the  stage.  The  plot  is  taken  from  an  old  story  in  the 
"  Gesta  Romanorum,"  translated  into  Anglo-Saxon,  and  afterward 
into  English  (1576),  by  Lawrence  Twine,  under  the  title,  "  The  Pat- 
tern of  Painful  Adventures."  Gower  rendered  it  into  English  verse, 
and  included  it  in  his  "  Confessio  Amantis."  The  play  is  apparently 
from  the  version  of  Gower,  who  appears  as  chorus  in  it.  Apollonius 
is  the  name  of  the  prince  in  those  versions  ;  and  it  has  been  conject- 
ured that  Pericles  is  a  form  for  Pp^ocles,  name  of  the  hero  of  Sid- 


268  INDEX  TO  SHAKSPERE'S  WORKS. 

ney's  "  Arcadia/'  published  in  1590  ;  the  more  so,  as  the  character  in 
the  play,  and  some  of  the  incidents  and  ideas,  resemble  those  of  Sid- 
ney's work.  The  period  of  action  extends  over  from  fifteen  to  twenty 
years.  The  play  as  a  whole  is  not  regarded  as  of  any  great  value, 
but  portions  of  it  are  in  Shakspere's  best  manner.  "  No  poetry  of 
shipwreck  and  the  sea  has  ever  equalled  the  great  scene  of  '  Peri- 
cles ; '  no  such  note  of  music  was  ever  struck  out  of  the  clash  and 
contention  of  tempestuous  elements." 

Pericles,  Prince  of  Tyre,  introduced  in  the  first  scene  of  the 
drama,  where  he  solves  the  riddle  of  Antiochus,  who  seeks  his  life  in 
revenge,  and  he,  by  the  advice  of  Helicanus,  goes  away  to  travel ;  re- 
lieves Tharsus,  i.  4  /  is  shipwrecked,  ii,  1 ;  victor  in  a  joust,  ii.  3 ; 
marries  Thaisa,  ii.  5  ;  is  wrecked  a  second  time,  Hi.,  prologue  ;  finds 
his  daughter,  v.  1 ;  his  wife,  v.  3. 

"  His  depth  of  soul  and  intellect,  and  a  touch  of  melancholy,  pro- 
duce in  him  that  painful  sensitiveness,  which  indeed,  as  long  as  he 
is  unsuspicious,  leaves  him  indifferent  to  danger ;  but,  after  he  has 
once  perceived  the  evil  of  men,  renders  him  more  faint-hearted  than 
bold,  and  more  agitated  and  uneasy  than  enterprising." — Gervinus. 

Perigenia,  llidsummer-Nighfs  Dream,  ii.  1. 

Perigort,  Lord,  Love's  Labour's  Lost,  ii.  L 

Perjurer,  wearing  papers,  Lovers  Labour's  Lost,  iv.  3.  A  per- 
jurer was  punished  by  being  compelled  to  wear  a  paper  on  the  breast 
naming  his  crime. 

Perjury,  King  John,  Hi.  1 ;  of  lovers,  Romeo  a7id  Juliet,  ii.  2  ; 
plagues  for.  Love's  Labour's  Lost,  v.  2 ;  Merchant  of  Venice,  iv.  1; 
Much  Ado  about  Nothing,  iv.  1 ;  As  You  Like  It,  i.  2. 

Perpend  (consider),  Merry  Wives  of  Windsor,  ii.  1;  Twelfth 
Night,  V.  1 ;  Hamlet,  ii.  2, 

Perpetual  motion,  scoured  to  death  with,  II.  Henry  IV.,  i.  2. 

Perplexity,  expression  of,  Cymbeline,  Hi.  4. 

Perseus,  Henry  V.,  Hi.  7 ;  Troilus  arid  Cress ida,  i.  3;  iv.  5. 
The  hero  that  took  the  Gorgon's  head. 

Perseverance,  keeps  honour  bright,  Troilus  and  Cressida,  Hi. 
3 ;   Venus  and  Adonis,  I.  565 ;  after  repulse.  The  Tempest,  Hi.  3. 

Perspective,  Twelfth  Night,  v.  1 ;  Richard  II.,  ii.  2.  The  name 
was  applied  to  all  kinds  of  optical  instruments,  some  of  which  pro- 
duced illusions,  and  it  was  also  a  name  for  pictures  painted  so  as  to 
show  the  design  only  from  a  certain  point  of  view  at  one  side. 

Perversion,  from  natural  use,  Romeo  and  Juliet ^  ii.  3 ;  of  the 
tairest  things.  Sonnets  xciv.-xcvi. 


INDEX  TO  SHAKSPERE'S   WORKS.  269 

Pestilence,  Coriolanus,  iv.  1;  Romeo  and  Juliet,  v.  2 ;  Antony 
and  Cleopatra,  Hi.  8;  judgment  of  God,  Richard  II.,  iii.  3 ;  "the 
Benedick,"  Much  Ado  about  Nothing,  i.  1. 

Petar  (petard),  hoist  with  his  own,  Hamlet,  iii.  4,  end. 

Peter,  Saint,  Othello,  iv.  2 ;  Much  Ado  about  Nothing,  ii.  1; 
Romeo  and  Juliet,  Hi.  5. 

Peter  of  Pomfret,  a  character  in  King  John,  appears  in  iv.  2. 
He  was  a  hermit  reverenced  by  the  common  people  as  a  seer.  It  is 
said  that  for  his  prophecy,  which  was  really  made  in  1213,  he  was 
dragged  at  horses'  tails  and  afterward  hanged  on  a  gibbet  with  his 
son.  He  was  said  to  have  been  instigated  to  utter  the  prophecy 
against  John  by  the  pope's  legate  and  the  barons  ;  it  was  supposed 
also  that  his  words  moved  John  to  come  to  a  speedier  agreement 
with  the  pope. 

Peter,  a  friar  in  Measure  for  Measure,  introduced  in  iv.  5. 

Peter,  assistant  of  the  armourer  in  //.  Henry  YL,  introduced 
in  i.  3  ;  his  combat  with  his  master,  ii.  3. 

Peter,  servant  of  the  nurse  in  Romeo  and  Juliet,  appears  in  ii. 
If.  and  iv.  5. 

Petitions,  of  maidens.  Measure  for  Pleasure,  i.  6. 

Peto,  one  of  the  companions  of  Falstaff  in  the  two  parts  of  Hen- 
ry IV.,  introduced  in  the  first  part  in  ii.  2,  and  in  the  second  in 
ii.  If..    He  was  Falstaff's  lieutenant  in  his  "  charge  of  horse." 

Petrarch,  Romeo  and  Juliet,  ii.  4. 

Petrifaction,  Hamlet,  iv.  7  or  4. 

Petnichio,  character  in  the  Taming  of  the  Shrew,  who  marries 
Katherina  the  shrew,  first  appears  in  i.  2. 

"  Petruchio  appears  the  only  rational  character  of  the  piece ;  yet 
even  he  is  driven,  by  the  pervading  folly  of  all  the  rest,  at  least  to 
play  the  part  of  a  fool,  and  so  becomes  ridiculous,  even  though  event- 
ually the  laugh  is  on  his  side.  All  the  characters  except  Petruchio 
andKatherina  are  sketched  with  a  light  touch ;  the  very  composi- 
tion of  the  piece  forbids  a  nicer  and  more  accurate  delineation,  and 
yet  Shakspere  has  succeeded  in  giving  to  all  the  stamp  of  individu- 
ality. One  trait  in  Katherina's  conduct  appears  false  :  it  is  not 
easy  to  see  how  so  self-willed  and  stubborn  a  disposition  could  have 
been  so  easily  persuaded  into  a  marriage  with  Petruchio.  .  .  .  The 
true  motive,  evidently,  was  the  surprise  and  irresistible  impression 
which  an  energetic  mind  and  manly  resolution  made  upon  her.  In 
Petruchio  she  meets  for  the  first  time  in  her  life  a  man  worthy  of 
the  name ;  hitherto  she  has  been  surrounded  with  mere  women  in 
male  attire.  A  genuine  man  she  cannot  but  admire,  nay,  more,  love. 
The  very  pride  and  somewhat  overweening  energy  of  her  womanly 
nature  is  a  siitficient  reason,  psychologically,  for  her  hearty  submis- 
sion."— Ulrici. 
18 


270  INDEX  TO  SHAKSPERE'S   WORKS. 

Pew-fellow  (companion),  Richard  TIL,  iv.  4. 

Phaeton,  Two  Gentlemen  of  Verona,  Hi.  1;  Richard  II.,  iii.3; 
111.  Henry  VI.,  i.  4;  ii.  6  ;  Romeo  and  Juliet,  Hi.  2.  He  attempted 
to  drive  for  one  day  the  chariot  of  his  father,  the  Sun.  The  horses 
ran  away.  The  world  was  set  on  fire,  and  Jove,  at  the  petition  of 
the  Earth,  hurled  a  thunderbolt  at  the  unhappy  charioteer,  who  fell 
headlong  into  the  river  Eridanus. 

Pharamond,  King,  and  the  Salic  law,  Henry  V.,  i.  2. 

Pharaoh,  lean  kine  of,  /.  Henry  IV.,  ii.  4;  soldiers  of,  Much 
Ado  about  JVothing,  Hi.  3. 

Pheezar  (conqueror),  Merry  Wives  of  Windsor,  i.  3. 

Pheeze  (to  chastise  or  humble).  Taming  of  the  Shrew,  induction^ 
1 ;  Troilus  and  Cressida,  ii.  3. 

Philadelphos,  of  Paphlagonia,  Antony  and  Cleopatra,  Hi.  6. 

Philario,  an  Italian,  friend  of  Posthumus  in  Cymheline,  intro- 
duced in  i.  4. 

Philemon.     See  Ovid. 

Philemon,  servant  of  Cerimon  in  Pericles,  appears  in  Hi.  2. 

Philip,  name  for  a  sparrow.  King  John,  i.  1,  so  called  from  its 
note,  which  is  thought  to  sound  like  the  name. 

Philip  and  Jacob,  Saints,  Measure  for  Pleasure,  Hi.  2,  A  holi- 
day falling  on  May  1st. 

Philip  (Augustus)  II.,  King  of  France  from  1180  to  1223,  a 
character  in  King  John.  He  is  introduced  at  the  beginning  of  the 
second  act.     He  was  the  great  enemy  and  rival  of  Coeur-de-Lion. 

Philippi,  the  battles  of :  decision  to  give  battle,  Julius  CcBsar, 
iv.  3 ;  the  action,  Julius  Ccesar,  v.  1-5 ;  they  were  separated  by  an 
interval  of  twenty  days,  though  spoken  of  in  v.  3  as  being  on  the 
same  day ;  Antony  and  Cleopatra,  Hi.  9  or  11. 

Philo,  character  in  Antony  and  Cleopatra,  introduced  in  i.  1, 
friend  of  Antony. 

Philomel,  Titus  Andronicus,  ii.  4  or  5 ;  iv.  1 ;  Lucrece,  lines 
1079,  1128;  Sonnet  cH.;  Passionate  Pilgrim,  xv;  Cymbeline,  ii.  2. 
See  Tereus. 

Philosopher,  a,  never  could  endure  toothache.  Much  Ado  aloui 
Noth  ing,  v.  1 ;  the  weeping  (Heraclitus),  Merchant  of  Venice,  i.  2 ; 
desiring  to  eat  a  grape.  As  You  LiTxC  It,  v.  1. 

Philosopher's  stone,  the,  AlVs  Well  that  Ends  Well,  v.  3, 
"  Plutus  himself,"  etc. ;  two  stones,  II.  Henry  IV.,  Hi.  2 ;  alluded 
to  as  a  great  medicine,  Antony  and  Cleopatra,  i.  5. 

Philosophy,  a  school  of.  Love's  Labour's  Lost,  i.  i;  a  shep- 


INDEX   TO  SHAKSPERE'S   WORKS,  271 

herd's,  As  You  Like  It,  Hi.  2 ;  adversity's  milk,  Romeo  and  Juliet, 
Hi.  3  ;  make  no  use  of,  Julius  Ccesar,  iv.  3  ;  things  not  dreamt  of  in, 
Hamlet,  i.  5;  pretended,  All's  Well  that  Ends  Well,  ii.  3. 

Philostrate,  character  in  the  Midsummer-Niglifs  Dream,  intro- 
duced in  i.  1.     He  is  Theseus's  master  of  the  revels. 

Philoten,  daughter  of  Cleon,  Governor  of  Tarsus,  mentioned  in 
Pericles,  iv.,  i^rologue, 

Philotus,  servant  of  one  of  the  creditors  of  Timon  of  Athens, 
introduced  in  Hi.  ^. 

Phisnomy  (physiognomy),  AlTs  Well  that  Ends  Well,  iv.  5. 

Phoebe  (the  moon),  Midsummer-Mghfs  Dream,  i.  1;  Titus  A71- 
dronicus,  i.  2. 

Phoebe,  a  shepherdess  and  rustic  beauty  in  As  You  Like  It,  with 
"  inky  brows,  black  silk  hair,  bugle  eyeballs,  and  cheeks  of  cream," 
beloved  by  Silvius,  appears  first  in  Hi.  5.  She  ''  is  quite  an  Arcadian 
coquette ;  she  is  a  piece  of  pastoral  poetry." 

Phoebus  Apollo,  god  of  the  sun,  The  Tempest,  iv.  1;  Much 
Ado  alout  Nothing,  v.  3 ;  A  Winter's  Tale,  iv.  3  or  4  ;  III.  Henry 
VI,  H.  6  ;  Hamlet,  Hi.  2 ;  Antony  and  Cleopatra,  iv.  8  ;  v.  2  ;  Cym- 
beline,  ii.  3 ;  I  Henry  IV.,  i.  2;  Romeo  and  Juliet,  Hi.  2. 

Phoenix,  the,  The  Tempest,  Hi.  3 ;  Comedy  of  Errors,  i.  2 ;  III 
Henry  VI,  i.  4 ;  Henry  VIII,  v.  5 ;  Cymheline,  i.  6 ;  Sonnet  xix.  ; 
Lover's  Complaint,  I.  93 ;  As  Yon  Like  It,  iv.  3 ;  I.  Henry  VI,  v. 
1 ;  Timon  of  Athens,  ii.  L  A  fabled  Arabian  bird,  which,  after  liv- 
ing five  hundred  years,  made  for  itself  a  funeral  pyre,  from  the  ashes 
of  which  rose  a  new  phoenix. 

Phoenix  and  the  Turtle,  The,  was  printed  as  Shakspere's  in  a 
book  which  appeared  in  1601,  "  Love's  Martyr,  or  Rosalin's  Com- 
plaint."   Its  authorship  is  doubtful. 

Phraseless  (indescribable).  Lover's  Complaint,  I.  225. 

Phrases,  red-lattice  (alehouse).  Merry  Wives  of  Windsor,  v.  5 ; 
not  soldier-like,  Merry  Wives  of  Windsor,  ii.  1 ;  a.  mint  of.  Love's 
Labour's  Lost,  i.  I 

Phrygian  Turk,  base.  Merry  Wives  of  Windsor,  i.  3. 

Phrynia,  a  mistress  to  Alcibiades,  character  in  Timon  of  Athens, 
introduced  in  iv.  3. 

Physic,  throw,  to  the  dogs,  Macbeth,  v.  3.     See  Medicine. 

Physical  (medicinal),  Coriolanus,  i.  4,'  Julius  Ccesar,  ii.  1. 

Physician(s),  ridicule  of,  Merry  Wives  of  Windsor,  ii.  3 ;  iron- 
ical praise  of,  Merry  Wives  of  Windsor,  Hi.  1 ;  skill  of  a,  AlVs  Well 
i'lat  Ends  Well,  i.  i;  a  woman,  AlFs  Well  that  Ends  Well,  ii.  1 ; 


272  INDEX  TO  SHAKSPERE'S  WORKS. 

trust  not  the,  Timon  of  Athens,  iv,  3 ;  kill  the,  and  bestow  the  fee 
on  the  disease,  King  Lear,  i.  1 ;  give  what  they  would  not  take, 
Pericles,  i.  2 ;  sleeps  while  the  patient  dies,  Lucrece,  I.  904;  an  an-" 
gry.  Sonnet  cxlvii. 

Physicians.  See  Butts,  Caius,  Cerimon,  Cornelius,  Narbon, 
and  Doctors  in  Macbeth  and  King  Lear. 

Physiognomy,  JIacieth,  i.  1,  "There  is  no  art  to  find  the 
mind's  construction  in  the  face." 

Picardy,  scene  of  a  part  of  Henry  V.,  and  mentioned  in  11, 
Henry  VL,  iv.  i. 

Picked  (nice,  fastidious),  Love's  Labour's  Lost,  v.  L 

Pickpocket,  a,  Autolycus  in  A  Winter's  Tale. 

Pickthanks  (parasites),  /.  Henry  IV.,  Hi.  2. 

Pickt-hatch,  Merry  Wives  of  Windsor,  ii.  2.     "  A  disreputable 
neighbourhood  in  London,  where  the  hatches  or  half -doors  were  pro 
tected  against  rogues  by  spikes  or  pickets." 

Picture,  of  we  three.  Twelfth  Night,  ii.  3.  Allusion  to  a  com- 
mon sign  representing  two  fools  and  the  legend  beneath,  "  We  three 
fools  be." 

Pictures,  two  contrasted,  Hamlet,  Hi.  4;  description  of,  Tam- 
ing of  the  Shrew,  induction,  2;  the  sleeping  and  the  dead  are  as,  • 
Machefh,  ii.  2.    See  Perspectives  and  Painting. 

Piedness,  in  flowers,  A  Winter's  Tale,  iv.  3  or  4. 

Pierce  of  Exton,  Sir.     See  Exton. 

Piety,  rewards  by  fairies  for.  Merry  Wives  of  Windsor,  v.  5 ; 
cruel,  irreligious,  Titus  Andronicus,  i.  2. 

Pigeons,  carrier,  Titus  Andronicus,  iv.  3. 

Pight  (pitched,  set),  Ki7ig  Lear,  ii.  1 ;  Troilus  and  Cressida,  v.  2. 

Pigrogromitus  and  the  Vapians,  Twelfth  Night,  ii.  3.  This 
is  probably  an  invention  of  Shakspere's,  used  in  fun. 

Pilate,  Pontius,  Richard  II.,  iv.  1 ;  Richard  III.,  i,  4. 

Pilcher  (scabbard),  Romeo  and  Juliet,  Hi.  1. 

Pilgrim,  a  true  devoted,  Two  Gentlemen  of  Verona,  iv.  7. 

Pilgrimage(s),  AlVs  Well  that  Ends  Well,  iv.  3  ;  to  Canterbury, 
I.  Henry  IV.,  i.  2  ;  to  atone  for  guilt,  Richard  II.,  v.  6. 

Pillage,  forbidden  to  soldiers,  Henry  V.,  Hi.  6. 

Pillar  of  the  world,  the  triple  [or  third],  Antony  and  Cleo- 
'patra,  i.  1.    Alluding  to  the  three  triumvirs. 

Pilled  (despoiled,  from  the  same  root  as  pillage),  Richard  II.,  ii, 
1 ;  Ricliard  III,  i.  3. 

Pillicock,  sat  on,  etc.,  King  Lear,  Hi.  4.    A  nursery  rhyme. 


INDJiX  TO  SBAKSPERE'S    WORKS.  273 

Pillory,  the,  Two  Gentlemen  of  Verona,  iv,  U;  Taming  of  the 

Shreu\  ii.  1.  oi.  -  j 

Pimpernell,  Henry,  mentioned,  Taming  of  the  Shrew,  induc- 
tion, 2.  .  ^^. 
Pin  and  web  (cataract  on  the  eye),  A  Winter's  Tale,  i.  2;  King 

Lear,  Hi.  4-  t       i   • 

Pinch,  a  schoohnaster  in  the  Comedy  of  Errors,  introduced  in 

IV.  If. ;  described  by  Antipholus  in  v.  L 

Pindarus,  a  servant  of  Cassius  in  Julius  Cmsar,  appears  in  iv.  2, 
Pine-trees,  knots  in,  Troilus  and  Cressida,  i.  3. 
Pioned  (covered  with  peonies),  The  Tempest,  iv.  L 
Pip  out,  a.  Taming  of  the  Shrew,  i.  2.    "  A  phrase  applied  to  a 
drunken  person,  borrowed  from  a  game  of  cards,  Bone-ace,  or  One 
and  Thirty."        ' 

Pipe,  a,  for  Fortune's  finger  to  sound  what  stop  she  pleases, 
Hamlet.  Hi.  2  ;  of  Hermes,  Henry  V.,  Hi.  7. 

Pirate(s),  Twelfth  Night,  v.  1,   II.  Henry  VI.,  i.  1;   Suffolk 
dies  by,  iv.  1;  Hamlet,  iv.  6  ov  3 ;  Antony  and  Cleopatra,  i.  A;  u. 
6  ;  the  sanctimonious,  Measure  for  Measure,  i.  2. 
Pisa,  renowned,  Taming  of  the  Shrew,  i.  1 ;  iv.  2. 
Pisanio,  servant  to  Posthumus  in  Cymheline,  introduced  in  i.  1 ; 
ordered  to  kill  Imogen,  Hi.  2;  his  scheme  to  save  her,  Hi.  4- 

Pistol,  a  swaggering  bully,  one  of  Falstaff's  companions  m  IL 
Henry  IV.,  the  Merry  Wives  of  Windsor,  and  Henry  V.  He  is  at 
first  ancient  or  ensign,  afterward  lieutenant,  and  marries  Mistress 
Quicklv,  the  tavern  hostess.  In  the  Merry  Wives  of  Windsor  he 
conspires  with  Nym  to  defeat  Falstaff.  His  character  is  set  forth  by 
Fahtaff  in  H.  2.  His  conversation  is  distinguished  by  the  use  of 
classical  allusions.  He  is  introduced  in  //.  He7iry  IV.  in  H.  4,  where 
he  rants  snatches  of  plays  and  ballads.  In  Henry  V,  i%.  1,  he  ap- 
pears as  the  husband  of  Mistress  Quickly,  and  quarrels  with  Bar- 
dolph,  who  had  been  troth-plight  to  her.  He  goes  to  the  war  m 
France,  appearing  on  the  battle-field  in  iv.  4,  and  is  last  seen  m  v.  1 
The  names  of  Bardoulph  and  Pistail  are  said  to  be  on  the  muster-roll 
of  artillerymen  serving  under  the  Earl  of  Arundel  in  1435. 

Pitch,  they  that  touch,  are  defiled,  Much  Ado  about  Nothing, 
Hi.  3;  L  Henry  IV,  H.  4;  IL  Henry  VI..  n.  U  Love's  Lahours 

Lost,  iv.  3.  ■  r>-   1         7    TTT 

.    Pitchers,  have  ears,  Tanmig  of  the  Shreiv,  iv.  4;  Richard  ill., 

n.  4.  ,       ^  1 

Pity,  and  justice,  Measure  for  Measure,  ii.2;  even  beasts  know. 


274  INUEX  TO  SEAKSPERE'S  WORKS. 

Richard  III.,  i.  2 ;  for  the  falling,  Henry  VIII.,  Hi,  2 ;  leave,  with 
our  mothers,  Troilus  and  Cressida,  v.  3 ;  the  virtue  of  the  law, 
Timon  of  Athens,  Hi.  5 ;  like  a  new-born  babe,  Macbeth,  i.  7 ;  'tis 
true,  'tis,  Hamlet,  ii.  2  ;  for  the  poor,  King  Lear,  Hi.  4,  "  Poor  naked 
wretches,"  etc. ;  implored,  As  You  Like  It,  ii.  7 ;  Cymbeline,  iv.  2  ; 
Henry  VIIL,  prologue ;  for  a  begging  prince,  Richard  III.,  i.  4; 
want  of,  Richard  II.,  v.  2  ;  Timon  of  Athens,  Hi.  2  ;  iv.  3. 

Piu  por  dulzura,  que  por  fuerza,  Pericles,  ii.  2.  More  by- 
gentleness  than  by  force. 

Place  and  greatness,  Pleasure  for  Pleasure,  iv.  L 

Plague,  the :  inscription  on  infected  houses,  "  Lord  have  mercy 
on  us,"  Love's  Labour's  Lost,  v.  2  ;  of  Greece,  Troilus  and  Cressida, 
u.  1,  sent  by  Apollo  on  the  Grecian  army ;  of  both  your  houses,  Ro- 
meo and  Juliet,  Hi,  1 ;  of  custom  (conventionality),  ^m^  Lear,  i.  2. 

Plain-speaking,  Julius  Ccesar,  i.  2, ''  Rudeness  is  a  sauce,"  etc. ; 
Julius  Ccesar,  Hi.  2,  "  1  have  neither  wit  nor  words,"  etc. ;  King 
Lear,  ii.  2,  "  These  kind  of  knaves  I  know,"  etc. 

Planched  (planked).  Measure  for  Pleasure,  iv.  1. 

Planetary  influence.     See  Astrology. 

Planets,  the,  disorder  of,  Troilus  and  Cressida,  i.  3. 

Plantagenet.  For  Edmund,  see  Rutlaxd.  For  Edward,  see 
Edward  IV.  For  George,  see  Clarence.  For  Richard,  Duke  of 
York,  see  York.     For  Richard,  see  Richard  III. 

Plantain,  the  herb,  used  for  wounds,  Love's  Labour's  Lost,  Hi. 
1 ;  Romeo  and  Juliet,  i.  2. 

Plashy,  Richard  II.,  i.  2 ;  H.  2.  Castle  of  the  Duchess  of  Glos-' 
ter  in  Essex. 

Platforms  (plans),  I.  Henry  VL,  ii.  L 

Plautus,  Hamlet,  ii.  2.  A  Roman  comic  dramatist,  died  in  the 
year  184  b,  c, 

Player(s),  a  strutting,  Troilus  and  Cressida,  i.  3,  "  The  great 
Achilles,"  etc. ;  Taming  of  the  Shrew,  induction,  1 ;  Hamlet,  ii.  2 ; 
life  like  a,  Macbeth,  v.  5  ;  advice  to,  Hamlet,  Hi.  1.    See  Actors. 

Play(s),  life  a.  As  You  Like  It,  ii.  7 ;  remorse  oft  aroused  by, 
Hamlet,  ii.  2  ;  names  of,  Midsummer-Nighfs  Dream,  v.  1;  good  for 
melancholy,  Taming  of  the  Shrew,  induction,  2, 

Plea,  of  "  not  guilty,"  A  Winfefs  Tale,  Hi.  2. 

Pleached  (intertwined),  Much  Ado  about  Nothing,  i.  2,  and 
elsewhere. 

*  Pleasure,  deaf  to  reason.  Troilus  and  Cressida,  ii.  2 ;  turned 
ill.  Antony  and  Cleopatra,  i.  2 ;  dearly  bought,  Lucrece,  I.  211. 


INDEX  TO  SHAKSPERE'S   WORKS.  275 

Plebeians,  of  Rome,  revolt  of,  Coriolanus,  i.  1.  This  incident 
in  the  play  is  placed  in  a  street  of  Rome ;  but,  according  to  Plutarch, 
the  plebs  withdrew  to  Mons  Sacer,  the  holy  hill.  Wrongs  and  faults 
of,  Coriolanus,  i.  1 ;  cowardice  of,  Coriolanus,  i.  4,  6  ;  abuse  of,  Co- 
riolanus,  ii.  1 ;  flatterers  of,  Coriolanus,  ii.  f ,  3 ;  Hi.  2 ;  wits  of  the, 
Coriolanus,  H.  3 ;  denounced,  Coriolanus,  Hi,  1 ;  contempt  for,  Co- 
riolanus, Hi.  1-3  ;  defied,  Coriolanus,  Hi.  3 ;  repent  the  banishment, 
Coriolanus,  iv.  6.    See  People,  Populace. 

Plenty,  breeds  cowards,  Cymheline,  Hi.  6. 

Plodding,  in  books.  Love's  Labour's  Lost,  i.  1;  prisons  the 
spirits,  Love's  Labour's  Lost,  iv.  3. 

Plots :  against  Falstaff,  Merry  Wives  of  Windsor,  H.  1 ;  Hi.  3, 
5  ;  iv.  2,  If. ;  v.  2-5 ;  Ford's,  Merry  Wives  of  Windsor,  ii.  2  ;  against 
Benedick  and  Beatrice,  Much  Ado  about  Nothing,  ii.  3;  Hi.  1; 
against  Hero,  3Iuch  Ado  about  Nothing,  ii.  2 ;  of  Hortensio  and 
Petruchio,  Taming  of  the  Shrew,  i.2 ;  of  Lucentio  and  Tranio,  Tam- 
ing of  the  Shrew,  i.  1 ;  of  Helena,  All's  Well  that  Ends  Well,  Hi.  7 ; 
against  ParoUes,  All's  Well  that  Ends  Well,  Hi.  6  ;  iv.  1;  to  commit 
murder,  A  Winter's  Tale,  i.  2 ;  to  rob,  A  Winter's  Tale,  iv.  2  or  3  ; 
of  the  Abbot  of  Westminster,  Richard  II.,  iv.  1;  v.  2,  3,  6 ;  of  the 
Percys,  I.  Henry  IV.,  i.  3;  ii.  3 ;  against  Clarence,  Richard  III., 
i.  1 ;  against  Hamlet,  Hamlet,  iv.  7  or:  4;  of  Edmund  against  Edgar, 
Kiiig  Lear,  i.  2 ;  ii.  1;  of  lago,  Othello,  ii.  1,  last  part ;  of  Pisanio, 
Cymheline,  Hi.  4;  of  Cloten,  Cymbeline,  Hi.  5. 

Plunder,  soldiers',  /.  Henry  IV.,  iv.  2,  "They'll  find  linen 
enough  on  every  hedge ;  "  wrangled  over,  Richard  III.,  i.  3, 

Plurisy  (plethora,  superabundance),  Hamlet,  iv.  7. 

Pluto,  god  of  the  infernal  regions.  Titus  Andronicus,  iv.  3  ;  Lu- 
crece,l.  553;  II.  Henry  IV.,ii.4>'  Coriolanus,  i.  4;  Troilus  and 
Cressida,  v.  2. 

Plutus,  god  of  riches,  mine  of,  Julius  CcBsar,  iv.  3  ;  alchemy  of, 
Airs  Well  that  Ends  Well,  v.  3  ;  god  of  gold,  Timon  of  Athens,  i.  L 

Po,  the  river.  King  John,  i.  1. 

Pocket-picking,  FalstafE's  charge  of,  /.  Henry  IV.,  Hi.  3. 

Poet(s),  ink  of  the.  Love's  Labour's  Lost,  iv.  3 ;  imagination  of 
the,  Midsummer-Night's  Bream,  v.  1 ;  one  early  dead.  Sonnet  xxxii. ; 
read  for  his  love,  Sonnet  xxxH. ;  a  rival.  Sonnets  Ixxx.,  Ixxxiv.,  Ixxxv. 

Poet,  a,  character  in  Timon  of  Athens,  introduced  in  the  first 
scene,  seeking  patronage  from  Timon.  In  v.  1  he  comes  to  get  gold, 
having  heard  of  the  treasure  Timon  has  found. 

Poet  (Marcus  Favonius),  a  character  in  Julius  Co&sar,  who  breaks 


276  INDEX  TO  SHAKSPERE'S   WORKS. 

in  on  the  quarrel  of  Brutus  and  Cassius  in  iv.  3,  and  is  thrust  out  by 
Brutus, 

Poetry,  the  force  of,  Two  Gentlemen  of  Verona,  Hi.  2 ;  direc- 
tions for  making,  Two  Gentlemen  of  Verona,  Hi,  2 ;  lovers  given  to. 
As  You  Like  It,  Hi,  3 ;  of  love.  Twelfth  Night,  i.  5,  "  Write  loyal 
cantons,"  etc. ;  contempt  for,  /.  Henry  IV.,  Hi.  1;  spontaneous,  Ti- 
mon  of  Athens,  i.  1 ;  beauty  perpetuated  in,  Sonnets  xv.-xix. ;  Ixiii,, 
lxi\,  ci.,  cvii. ;  of  love,  Sonnets  xxi.,  xxxii.,  xxxviii.,  Iv. ;  enduring, 
Sonnets  Iv.,  Ix. ;  sameness  in.  Sonnet  Ixvi. ;  immortality  in.  Sonnet 
Ixxxi. ;  beauty  the  inspiration  of,  Sonnets  Ixxviii.-lxxx. ;  Ixxxiv.  ; 
defeats  time.  Sonnet  c. ;  inadequacy  of,  Sonnet  ciii. ;  and  music, 
Passionate  Pilgrim,  viii. ;  the  muse  of,  invoked.  Love's  Labour's 
Lost,  i,  2 ;  golden  cadence  of,  Love's  Labou?'''s  Lost,  iv.  2 ;  bootless 
rhymes,  Love's  Labour's  Lost,  v.  2. 

Poins,  or  Pointz.  one  of  the  companions  of  the  prince,  introduced 
in  I.  Henry  IV.,  in  i.  2,  and  in  II.  Henry  IV.,  in  H.  2.  In  ii.  4,  of 
the  second  part,  Falstaff  explains  why  the  prince  loves  him. 

Point-device  (foppish,  neat).  Love's  Labour's  Lost,  v.  1;  As 
You  Like  It,  Hi.  2  ;  Twelfth  Night,  H.  5. 

Points,  Taming  of  the  Shrew,  Hi.  2 ;  A  Winter^ s  Tale,  iv.  3  or 
4,  and  elsewhere.     Tags  to  fasten  doublet  and  hose  together. 

Poison(s),  The  Tempest,  Hi.  3 ;  alluding  to  the  custom  of  hav- 
ing a  taster  for  the  food  of  the  great,  to  prevent  the  administering 
of.  King  John,  v.  6 ;  effect  of.  King  John,  v.  7 ;  physic  in,  II.  Hen- 
ry IV.,  i.  1,  2;  mentioned,  /,  Henry  VI.,  v.  4;  Romeo  and  Juliet, 
H.  3 ;  King  Lear,  Hi.  4 ;  Antony  and  Cleopatra,  v.  2 ;  penalty  for 
selling,  Romeo  and  Juliet,  v.  1 ;  supposed  to  swell  the  body,  King 
John,  V.  6 ;  Jidius  Ccesar,  iv.  3  ;  effects  of,  Hamlet,  i.  5 ;  in  the  ear, 
Hamlet,  Hi,  2 ;  iv.  7 ;  given  to  Regan,  King  Lear,  v.  3 ;  asked  for, 
Cymbeline,  i.  5 ;  v.  5. 

Poking-sticks,  A  Wi7iter's  Tale,  iv.  3  or  4.  Instruments  to 
plait  ruffles  with. 

Polacks,  the  sledded,  Hamlet,  i.  1 ;  iv.  4. 

Poland,  winter  in.  Comedy  of  Errors,  Hi.  2, 

Pole,  the  north,  Othello,  ii.  1. 

Polemon,  of  Mede,  Antony  and  Cleopatra,  Hi,  6. 

Policy,  in  war,  contempt  for,  Troilus  and  Cressida,  i.  3 ;  In  ill 
opinion,  Troilus  and  Cressida,  v,  4;  combined  with  honour,  Corio- 
lanus,  Hi.  2 ;  a  heretic,  Sonnet  cxxiv  ;  plague  of  your,  Henry  VIIL 
Hi.  2 ;  is  from  the  devil,  Timon  of  Athens,  Hi.  3. 

Politeness.     See  Courtesy. 


INDEX  TO  SHAKSPERE'S   WORKS. 


i  i 


Politician(s),  management  of,  Coriolanus,  ii.  <?;  a  dead,  Ham- 
let, V.  1 ;  a  scurvy,  King  Lea?;  iv.  6. 

Polixenes,  King  of  Bohemia,  in  A  Winter'' s  Tale.  The  jealousy 
of  Leontes  is  aroused  against  him,  and  he  would  be  murdered  but 
for  Camillo,  who  warns  him  and  flees  with  him.  He  opposes  the 
marriage  of  his  son  with  the  shepherdess,  but  gives  consent  when 
she  is  found  to  be  the  daughter  of  Leontes,  King  of  Sicily.  He  first 
appears  in  i.  2. 

Polonius,  the  lord  chamberlain  in  Hamlet,  first  appears  in  i.  2. 
His  advice  to  his  son,  i.  3,  is  said  to  be  copied  from  John  Lilly's  ro- 
mance of  "  Euphues :  the  Anatomy  of  Wit,"  published  in  1580 ; 
his  advice  to  his  daughter,  i.  S ;  his  death,  Hi.  4.  Polonius  is  offi- 
cious, confident  in  his  own  wisdom  and  vain  of  it.  "  Hamlet's 
ugly  sarcasms  seem  disproportioned  to  his  offences,  which  are  the 
harmless  folly  of  an  old  man,  until  we  remember  the  annoyance  and 
irritation  one  experiences  when  in  deep  feeling  or  perplexity,  at 
the  confident,  self-satisfied,  shallow  judgment  of  some  worldly-wise 
person  who  imagines  his  system  of  weights  and  measures  to  be  in- 
fallible." 

Polydore.     See  Guiderius. 

Pomanders,  A  Winter's  Tale,  iv.  3  or  4.  Little  perfumed  balls 
of  paste  worn  as  amulets. 

Pomegranate,  /.  Henry  IV.,  ii.  If..  Name  of  a  room  in  an 
inn.    See  Bunch  of  Grapes. 

Pomewater  (a  kind  of  apple),  Love's  Labour's  Lost,  iv.  2. 

Pomfret  (Pontefract),  in  Yorkshire,  scene  of  Richard  II.,  v.  5. 
Richard  was  confined  in  the  dungeon  of  the  castle;  Richard  III, 
ii.  If. ;  Hi.  2,  3. 

Pomp,  what  is,  ///.  Henry  VI.,  v.  2 ;  loss  of,  Henry  VIII.,  ii. 
3 ;  take  physic.  King  Lear,  Hi.  4. ;  the  gate  too  narrow  for  pomp  to 
enter,  All's  Well  that  Ends  Well,  iv.  5. 

Pompeius,  Cneius,  Pompey  the  Great  (106-48  b.  c).  incorrectly 
mentioned  as  one  of  the  nine  worthies,  Love's  Lahour's  Lost,  v.  1  ; 
wars  of,  Henry  V.,  iv.  1 ;  celebration  of  the  victory  over  his  faction, 
Julius  Ccesar,  i.  1 ;  ingratitude  toward,  i.  1 ;  at  Pharsalia,  v.  1 ; 
death  of,  //.  Henry  VI.,  iv.  L  He  was  killed  as  he  was  leaving  a 
boat  in  which  he  was  landing  on  the  shore  of  Egypt,  at  the  instance 
of  the  king's  officers,  who  desired  to  propitiate  Caesar. 

Pompeius,  Sextus,  Pompey  the  Younger,  character  in  Antony 
and  Cleopatra,  introduced  in  ii.  1.  His  rebellion,  i.  3,  4  /  H-  1  /  his 
motives,  ii.  6. 


278  INDEX  TO  SHAKSPERE'S  WORKS. 

*'  The  young  Pompey,  a  frank  but  thoughtless  soul,  the  image  of 
political  levity,  opposed  to  the  moderate  Octavius,  fights  for  the 
cause  of  freedom  in  company  with  pirates,  foolishly  brave,  without 
friends.  .  .  .  This  confidence  rests  on  the  predictions  of  hope,  on  the 
command  of  the  sea,  on  the  love  of  the  people,  on  all  the  most  de- 
ceitful things  in  the  world." — Gervinus. 

Pompey,  servant  of  Mrs.  Overdone  in  Pleasure  for  Measure,  in- 
troduced in  i.  2,  a  circumlocutory  rascal. 

Pompey 's  Porch.,  Julius  Ccesar,  i.  3.  At  the  theatre  built  by 
Pompey  on  the  Campus  Martins.  Ceesar  was  slain  at  the  foot  of  the 
statue  of  Pompey,  which  stood  there,  not  in  the  capitol. 

Pont,  King  of,  Antony  and  Cleopatra,  Hi.  6. 

Pontic  Sea,  the,  Othello,  in.  3. 

Ponton,  Lord,  /.  Henry  YL,  i.  J).. 

Poor,  the,  pride  of.  Twelfth  Night,  Hi.  1 ;  sleep  of,  Henry  F., 
iv.  1 ;  sufferings  of — fable  of  rich  and,  Coriolanus,  i.  1 ;  neglected, 
As  You  Like  It,  ii.  1 ;  Timon  of  Athens,  iv.  2.  See  also  Adver- 
sity, Poverty. 

Poor- John  (dried  and  salted  hake),  The  Tempest,  ii.  2 ;  Romeo 
and  Juliet,  i.  1. 

Poor  soul,  the  centre  of  my  sinful  earth.  Sonnet  cxlvi. 

Pope,  the  (Innocent  III.),  his  quarrel  with  John  of  England, 
King  John,  Hi.  1 ;  the  reconciliation,  King  Johri,  v.  1,  2. 

Pope,  the  (Clement  VII.),  Henry  YIIL,  ii.  2 ;  Hi.  2. 

Popilius  Lena,  a  senator  in  Julius  Ccesar,  introduced  in  Hi.  1. 

Popinjay  (parrot),  a,  /.  Henry  lY.,  i.  3. 

Poppy,  the,  Othello,  Hi.  3. 

Populace,  the,  excitement  of.  King  John,  iv.  2 ;  treatment  of 
the  kings  by,  Richard  II,  v.  2 ;  fickleness  of,  II.  Henry  lY.,  i.  3 ; 
Julius  CcBsar,  i.  1;  Hi.  2;  applause  of,  Julius  Ccesar^  i.  2.  See 
People,  Plebeians. 

Popularity,  Richard  II,  i.  4.;  v.2  ;  I.  Henry  lY,  iii.2;  iv.  3  ; 
II.  Henry  lY.,  i.  3;  Henry  Y.,  iv.,  chorus;  Julius  Ccesar,  i.  3 ; 
Merchant  of  Venice,  Hi.  2  ;  Coriolanus,  ii.  1,  3 ;  ii.  2  ;  Hamlet,  iv. 
3,  5  ;  Timon  of  Athens,  i.  1 ;  fickle,  Antony  and  Cleopatra,  i.  4. ;  II. 
Henry  YL,  iv.  8 ;  HI.  Henry  YL,  ii.  6  ;  Hi.  1 ;  iv.  8  ;  (familiarity 
with  the  people),  Henry  Y.,  i.  1. 

Pork,  the  eating  of,  Merchant  of  Yenice,  i.  3  ;  Hi.  5. 

Porpentine  (porcupine),  II  Henry  YL,  Hi.  1;  Troilus  and 
Cressida,  ii.  1 ;  the  fretful,  Hamlet,  i.  5  ;  an  inn  called  the,  Comedy 
of  Errors,  Hi.  1 ;  v.  1. 

Porpoises,  signs  of  storm,  Pericles,  H.  L 


INDEX  TO  SHAKSPERE'S  WOMKS.  279 

Porringer,  a  pinked,  Henry  VIII.,  v.  4-  ^  cap  shaped  like  a 
porringer. 

Port  (gate),  Antony  and  Cleopatra,  i.  3,  and  elsewhere. 

Portage  (port-holes),  Henry  V.,  Hi.  L 

Portance  (carrying  on,  progress),  Othello,  i.  3. 

Portents,  Julius  Ccesar,  i.  3  ;  ii.  2;  Hamlet,  i.  1 ;  King  John, 
Hi.  4.;  Richard  III.,  ii.  3 ;  I.  Henry  IV.,  v.  1.    See  also  Omexs. 

Porter,  a,  character  in  Macbeth,  ii.  3.  His  speeches  are  gener- 
ally attributed  to  some  other  hand,  though  Dowden  thinks  they 
show  that  of  Shakspere.  Schiller  in  his  translation  substitutes  a 
pious  morning  hymn  for  the  porters  speech.  Coleridge  is  positive 
that  the  actors  interpolated  the  character,  and  Shakspere,  finding 
it  take  with  the  mob,  added  the  words  from  "  I'll  devil-porter  it  no 
further."  Quite  a  different  view  is  taken  of  the  part  by  Ulrici,  who 
says :  "  But  the  ordinary  and  every-day  portion  of  society  having 
been  introduced,  it  must  be  depicted  in  complete  truth,  and  there- 
fore also  in  the  comic  light  which  is  thrown  upon  it  from  its  dispro- 
portionateness.  Even  the  part  of  the  Porter  in  Macbeili,  over  whose 
drunken  drowsiness  and  silly  meditations  the  fearful  destiny  which 
is  to  affect  him  and  his  country  so  deeply  sweeps  by  without  a  trace, 
possesses  so  solemn  a  seriousness  and  tends  so  greatly  to  heighten 
the  tragic  effect  that  it  could  on  no  account  be  left  out." 

Portia,  the  heroine  of  the  Merchant  of  Venice,  first  appears  in 
1.  2.  She  is,  perhaps,  in  the  variety  and  degree  of  her  fine  qualities, 
the  noblest  character  among  Shakspere's  women.  Though  a  child 
of  fortune,  she  is  full  of  ready  sympathy  for  those  who  suffer ; 
though  impulsive  and  ardent,  her  high  sense  of  honour  will  not  per- 
mit her  to  give  her  lover  the  slightest  hint  as  to  the  caskets  in  the 
choice  that  involves  her  whole  happiness ;  though  provided  with  a 
decision  that  will  do  her  intellect  the  greatest  honour  in  the  court- 
room, she  does  not  bring  it  forward  until  she  has  done  her  utmost 
by  womanly  persuasion  to  bring  the  Jew  to  relent  on  considerations 
of  mercy  and  humanity.  She  is  witty,  clear-sighted,  generous,  elas- 
tic in  temperament,  prompt  and  decided  in  action. 

Portia,  wife  of  Brutus,  character  in  Julius  Ccesar,  first  appears 
in  i.  2  ;  her  death,  %v.  3.  Unwilling  to  be  excluded  from  the  coun- 
sels of  her  husband,  Portia  inflicted  a  wound  upon  herself  to  prore 
her  courage  and  fortitude.  When  Brutus  fled  from  Rome  after  An- 
tony's success,  she  fell  into  despair  and  slew  herself. 

Portrait(s),  description  of  a.  Merchant  of  Venice,  Hi.  2 ;  two 
contrasted,  Hamlet,  Hi.  4;  love  of  a,  Tivo  Gentlemen  of  Verona,  iv.  4. 


280  INDEX  TO  SHAKSPERE'S  WORKS, 

Portugal,  Bay  of,  As  You  Like  It,  iv.  1. 

Possess  (inform),  Merchatit  of  Venice,  i.  3,  and  elsewhere. 

Possession,  Much  Ado  about  Nothing,  iv.  1,  "  What  we  have 
we  prize  not,"  etc. ;  disillusionment  of,  Troilus  and  Cressida,  i.  2, 
"Women  are  angels,"  etc.;  Antony  and  Cleopatra,  i.4>'  Lucrece, 
I.  867 ;  have  is  have.  King  John,  i.  1. 

Possessions,  that  men  glory  in,  Sonnet  xci. 

Post,  Comedy  of  Errors,  i.  2.  Allusion  to  the  practice  of  scoring 
accounts  on  posts. 

Posthumus  Leonatus,  character  in  Cymheline,  Imogen's  hus- 
band, introduced  in  the  first  scene,  where  he  is  described.  His 
wager,  i.  4 ;  he  orders  the  death  of  Imogen,  Hi.  2 ;  his  vision,  v.  4  ; 
his  bravery,  v.  5. 

"  His  jealousy  is  not  heroic,  like  Othello's ;  it  shows  something  of 
grossness  unworthy  of  his  truer  self.  In  due  time  penitential  sorrow 
does  its  work ;  his  nobler  nature  reasserts  itseK." — Dowden. 

Posy  (motto),  of  a  ring,  Hamlet,  Hi.  2. 

Potato,  the,  Merry  Wives  of  Windsor,  v.  5. 

Potents  (powers  or  forces),  King  John,  ii.  1  or  2. 

Pouncet-box,  /.  Henry  IV.,  i.  3.  A  perforated  box  for  carrying 
perfumes  in. 

Pourquoi  (why),  Twelfth  Night,  i.  3. 

Poverty,  desperate — my,  consents,  not  my  will,  Romeo  and  Ju- 
liet. V.  1 ;  is  bold,  Timon  of  Athens,  Hi.  If. ;  enforced,  and  willing, 
Timon  of  Athens,  iv.3;  appearance  of,  Kiiig  Lear,  ii.  3  ;  sufferings 
of.  Ki7ig  Lear,  Hi.  4;  makes  vices  apparent,  King  Lear,  iv,  4; 
makes  tame,  King  Lear,  iv.  6.     See  Adversity  and  Poor,  the. 

Powder,  food  for,  i.  Henry  IV.,  iv.  2 ;  a,  skill-less  soldier's, 
Romeo  and  Juliet,  Hi.  3  ;  (to  salt),  /.  Henry  IV.,  v.  4- 

Power,  just.  The  Tempest,  v.  1 ;  abuse  of.  Measure  for  Pleasure, 
li.  4 ;  worn  out  before  well  put  on,  Coriolanus,  Hi.  2 ;  of  a,  soldier 
in  time  of  peace,  Coriolanus,  iv.  7 ;  corrupting  influence  of,  3Iac- 
beth,  iv.  3  ;  cannot  bear  remonstrance.  King  Lear,  i.  1 ;  do  courtesy 
to  wrath.  King  Lear,  Hi.  7 ;  unlimited,  Henry  VIII.,  ii.  2.  See 
also  Authority,  Greatness. 

Poysam,  the  Papist,  All's  Well  that  Ends  Well,  i.  3. 

Practice,  and  preaching.  Merchant  of  Venice,  i.  2 ;  I.  Henry 
VI.,  Hi.  1 ;  Hamlet,  i.  3. 

Practice  (strategy,  trickery).  Measure  for  Measure,  v.  1;  King 
hear,  ii.  1 :  Othello,  v.  2. 

Practisants  (plotters),  /.  Henry  VL^  Hi.  2, 


INDEX  TO  SHAKSPERE'S   WORKS.  281 

PraeniTinire,  Henry  VIII.,  Hi.  2.  A  writ  against  one  who  sets 
up  another  authority  than  the  king's. 

Prague,  hermit  of,  Twelfth  Night,  iv.  2. 

Praise,  of  a  daughter,  The  Tempest,  iv.  1 ;  of  Angelo,  Measure 
for  Pleasure,  i.  1;  ironical,  Measure  for  Measure,  v.  1;  of  self, 
Much  Ado  about  Nothing,  v.  2 ;  Troilus  and  Cressida,  i.  3,  speech. 
of  -^neas ;  for  the  sake  of,  Love's  Labour's  Lost,  iv.  1 ;  a,  seller's. 
Love's  Labour's  Lost,  iv.  3  ;  envy  roused  by,  As  You  Like  It,  ii.  3  ; 
V.  i  ;  of  what's  lost.  All's  Well  that  Ends  Well,  v.  3  ;  in  poetry,  gen- 
erally feigned.  Twelfth  Night,  i.  5  ;  influence  of,  on  women,  A  Win- 
ter's Tale,  i.  2,  "  Cram  us  with,"  etc. ;  Falstaff's,  of  himself,  I.  Ilen^ 
ry  IV.,  ii.  4  >'  for  bravery,  Coriolanus,  i.  9  ;  ii.  2 ;  bought,  Timoii  of 
Athens,  ii.  2 ;  daily,  found  harmful,  Timon  of  Athens,  iv.  3 ;  of 
Posthumus,  Cymbeline,  i.  1 ;  in  verse,  Sormei  xvii. ;  gross.  Sonnet 
Ixxxii. ;  cry  amen  to,  like  unlettered  clerk,  Sonnet  Ixxxv. 

Prat,  Mother,  name  applied  to  Falstaff  in  disguise,  Merry  Wives 
of  Windsor,  iv.  2. 

Prayer(s),  The  Tempest,  i.  1 ;  assaults  mercy,  The  Tempest,  v., 
epilogue;  for  another,  Two  Gentlemen  of  Verona,  i.  1;  fault  of  be- 
ing given  to,  Merry  Wives  of  Windsor,  i.  4;  true,  Measure  for 
Pleasure,  ii.  2 ;  temptation  where,  cross.  Measure  for  Measure,  ii. 
2 ;  empty.  Measure  for  Measure,  ii.  4;  death  believed  to  be  has- 
tened by,  7.  Henry  VI.,  i.  1 ;  daily,  II.  Henry  VI.,  ii.  1,  "  Let  never 
day  nor  night,"  etc.;  of  Edward  IV.,  III.  Henry  VI.,  ii.3 ;  of  the 
king,  Henry  V.,  iv.  1 ;  pretence  of,  Richard  III.,  Hi.  7 ;  of  Rich- 
mond, Richard  III.,  v.  3,  5 ;  twofold  force  of — words,  without 
thoxxghis,  Hamlet,  Hi.  3;  for  Othello,  H.  1;  before  death,  Otliello, 
v.  2  ;  profit  in  loss  of  one's,  Antony  and  Cleopatra,  ii.  1 ;  in  a  storm, 
Pericles,  Hi.  1 ;  need  of,  Romeo  and  Juliet,  iv.  3 ;  the  Lord's,  see 
Lord's  Prayer,  the. 

Preacliing,  and  practice.     See  Practice. 

Precaution,  before  building,  II.  Henry  IV.,  i.  3 ;  in  time  of 
feast,  Timon  of  Athens,  iv.  3. 

Precedent  (first  draft),  King  John,  v.  2. 

Precept(s),  and  practice,  offered  in  sorrow.  Much  Ado  about 
Nothing,  v.  1.     See  Practice. 

Precepts  (warrants),  II.  Henry  IV.,  v.  1. 

Precipices.     See  Cliffs. 

Precision^  of  a  hvpocrite,  Measure  for  Measure,  i,  4,  5. 

Predictions.     See  Prophecy. 

Preferment,  goes  by  favour,  Othello,  i.  1. 


282  INDEX   TO  SHAKSPERE'S    WORKS, 

Prejudice,  AWs  Well  that  Ends  Well,  v.  3 ;  Hamlet,  i.  4;  re- 
ligiijus,  Jlerchant  of  Venice,  Hi.  1. 

Prejudice  (injuie),  /.  Henry  VL,  Hi.  3. 

Prenzie.     See  Guards. 

Presages,  ill,  Venus  aiid  Adonis,  I.  4S7.  See  also  Omens,  Por- 
tents, Presentiments. 

Present,  the,  should  be  used,  AlVs  Well  that  Ends  Well,  v.  3, 
"  Let's  take  the  instant,"  etc. ;  Timon  of  Alliens,  v.  1,  "  When  the 
day  serves,"  etc. ;  seems  worst,  II.  Henry  IV.,  i.  3 ;  wortli  of  what 
is  done  in,  Iroilus  and  Cress ida,  Hi.  3 ;  this  ignorant,  Macbeth,  i. 
6  ;  sacrifice  of  the  future  to,  Antony  and  Cleopatra,  i.  4. 

Presentiments,  of  the  dying,  Richard  II.,  ii.  1;  of  evil,  Rich- 
ard II.,  ii.  2 ;  Richard  III,  ii.  3 ;  of  untimely  death,  Romeo  and 
Juliet,  i.  4,  end ;  Hi.  5 ;  in  a  haunting  song,  Othello,  iv.  3,  "  My 
mother  had  a  maid,"  etc. 

Presents,  to  the  rich,  Timon  of  Athens,  i.  2. 

Prest  (ready),  Merchant  of  Venice,  i.  1. 

Prester  John,  length  of  his  foot,  Much  Ado  ahout  Nothing, 
ii.  1.  Prester  John  was  a  name  applied  to  the  Kings  of  Ethiopia  or 
Abyssinia.  It  is  said  to  be  a  corruption  of  Belul  Gian,  precious 
stone,  the  first  word  having  been  translated  and  then  corrupted 
into  Presbyter,  and  then  Prester.  The  precious  stone  was  in  a  legen- 
dary ring  said  to  have  been  given  to  the  Queen  of  Sheba  by  Solo- 
mon, and  left  by  her  to  her  descendants. 

Presumption,  in  ascribing  to  the  act  of  men  the  help  of  Heav- 
en, AlVs  Well  that  Ends  Well,  ii.  1. 

Pretence  (plot),  the  undivulged,  Macbeth,  ii.  3. 

Prevent  (anticipate,  forestall),  Tivelfth  Night,  Hi.  1 ;  I.  Henry 
VL,  iv.  1. 

Prevention  (discovery),  Julius  Ccesar,  ii.  1. 

Priam,  King  of  Troy,  character  in  Troilus  and  Cressida,  intro- 
duced in  H.  1 ;  allusions  to :  AlVs  Well  that  Ends  Well,  i.  3 ;  II. 
Henry  IV.,  i.  1;  III.  Henry  VL,  ii.  5 ;  Hamlet,  ii.  2;  Lucrece, 
lines  lUS,  1466,  1485,  1548. 

Priapus,  Pericles,  iv.  6. 

Pribbles,  and  prabbles.  Merry  Wives  of  Windsor,  i.  1 ;  v.  5. 

Prick-song,  Romeo  and  Juliet,  ii.  4-     Written  music. 

Pride,  of  authority,  Pleasure  for  Measure,  ii.  2  ;  fallen  with  for- 
tunes, As  You  Like  It,  i.  2  ;  universality  of,  As  Yoy,  Like  It,  ii.  7  ; 
without  contempt  or  bitterness,  AlVs  Well  that  Ends  Well,  i.  2 ; 
must  have  a  fall,  Richard  II.,  v.  5 ;  loses  men's  hearts,  /.  Henry 


INDEX  TO  SHAKSPERE'S  WORKS.  283 

IV  Hi.  i ;  of  a  plebeian,  Henry  VIIL,  L  1  /  broken,  Henry  VI IL, 
Hi  "5  •  Troilus  and  Cressida,  i.  3,  end  ;  ii.  3  ;  no  gla^s  but,  Troilusand 
Cressida,  Hi.  3;  of  blood  and  rank,  Coriolanus,  i.  1;  **•  ^  ;•.  ^';!-  ^' 
^-  ever  taints  the  prosperous,  Coriolanus,  iv.  7;  m  humiliation 
Timon  of  Athens,  iv.  ^,"Not  by  his  breath,"  etc  ;  accusa  lo'n  of 
King  Lear,  i.  1 ;  in  possessions.  Sonnet  xci ;  of  the  ^oov,  fwelfth 
Night,  Hi.  4 ;  Eve's  legacy,  Two  Gentlemen  of  Verona,  ^^^.  1;  smaU 
things  make  base  men  proud,  //.  Henry  VL,  iv.  1.       ^ 

Priest(s),  no,  shovels  in  dust,  A  \Yinter's  Tale,  iv.  3  or  4.  It 
was  customary  for  the  priest  to  throw  in  earth  in  the  form  of  a  cross. 
A  meddling, '^m^  John,  Hi.  1;  churlish,  Hamlet,  v.  1;  when,  are 
more  in  word  than  matter,  Z'w^r  ivear,  ^^^.  ^.  ^ 

Primero,  or  prime.  Merry   Wives  of   Windsor,  iv,  5;  Henry 
VIIL,  V.  1.     An  old  game  of  cards. 

Primogeniture,  rights  of.  As  You  Like  It,  i.  1. 
Primroses,  A   Wintefs  Tale,  iv.  3  ov  ^  ;  Midsummer  -  Night  s 
Bream    i.  1 ;  IL  Henry  VL,  Hi.  2;  Cymheline,  iv,  2, 

Primrose  Way,  the,  to  the  everlasting  bonfire,  Maeleth,  %%.  3  ; 
the  primrose  path  of  dalliance,  Hamlet,  i.  3.  ^ 

Priiice(s),  must  maintain  their  dignity,  Comedy  of  Errors,  i.  1; 
lions  will  not  touch  a  true,  L  Henry  IV.,  ii.  4;  unworthy  conduct 
of  a  7.  Hmry  IV,  Hi.  1;  empty  honours  of,  Richard  III,  t.  4  ; 
favours  of,  He7iry  VIIL,  Hi.  2;  deaths  of,  foreshadowed,  Julius 
Cmar,  H.  2  ;  like  tops  of  trees,  Pericles,  i.  2;  a  model,  Pericles,  ii. 
2  •  fflass  for  subjects,  Lucrece,  I.  615;  favourites  of.  Sonnet  xxv.  _ 
'  Princes  in  the  Tower,  the,  Richard  III,  Hi.  1;  iv.  1;  their 
murder  planned,  iv.  2;  executed,  iv.  3 ;  their  ghosts,  v.  3.  See  also 
Edward  and  Richard. 

Princox  (a  pert  boy),  Romeo  and  Juliet,  i.  5. 
Print,  in  (with  exactness).  Love's  Labour's  Lost,  Hi.  L 
Prints  (impressions),  credulity  to,  Measure  for  Measure,  11.  4. 
Priscian,  a  little  scratched.  Love's  Labour's  Lost,  v.  L     He  wa£ 
a  Roman  grammarian,  who  flourished  about  500  A.  d. 
Priser  (fighter).  As  You  Like  It,  ii.  3. 

Prison(s),  scenes  in,  Pleasure  for  Measure,  ii.  3;  Hi.  1 ;  A  Wiri- 
ter's  Tale,  ii.  2;  a,  compared  with  the  world,  Richard  IL,  v.  5;  the 
mind  makes  a,  Hamlet,  ii.  2;  let's  away  to.  King  Lear,  v.  3. 

Prisoners,  description  of,  Measure  for  Measure,  iv.  3;  dispute 
about  /.  Henry  IV,  i.  3;   slaughter  of,  at  Agincourt,  ^en/'i/  1., 
'  it  is  notffor,  to  be  too  sUent  in  their  words,  Love's  Labours 


IV.  7 
Lost, 


284  INDEX  TO  SHAKSPERE'S  WORKS, 

Prisoner's  base,  allusions  to  the  game  of,  Two  Oentlemen  of 
Verona,  i.  2 ;  Gyinbeline,  v.  3. 

Probal  (probable),  Othello,  ii.  3, 

Process  (summons),  Antony  and  Cleopatra,  u  1, 

Procession,  coronation,  Henry  VIII.,  iv.  1. 

Proclamation,  Measure  for  Measure,  i.  2. 

Procrastination,  cowardly,  Hamlet,  iv.  It  or  1.    See  Delay. 

Procrus,  not  Shafalus  to,  was  so  true.  Midsummer  -  NighVs 
Dream,  v.  1.  Alluding  to  the  story  of  Cephalus  and  his  wife  Pro- 
cris.  She  was  told  that  he  had  been  overheard  to  say  when  resting 
from  the  chase,  "  Sweet  Aura  (air),  come  and  fan  me !  come,  gentle 
Aura  ! "  Supposing  Aura  to  be  a  woman,  she  was  aroused  to  jeal- 
ousy, and  crept  through  the  bushes  one  day  to  surprise  him  at  his 
resting-place.  But  he,  hearing  the  rustling,  and  supposing  a  wild 
beast  was  about  to  spring  upon  him,  discharged  an  arrow,  by  which 
Procris  was  mortally  wounded. 

Proculeius,  a  friend  of  C»sar  in  Antony  and  Cleopatra,  intro- 
duced in  V.  1,  where  Caesar  sends  him  with  a  message  to  Cleopatra ; 
his  interview  with  her,  v.  2. 

Prodigality,  Timon  of  Athens,  i.  1,  2. 

Prodigal  son,  the,  the  calf  that  was  killed  for,  Comedy  of 
Errors,  iv.  3  ;  chamber  painted  with  the  story  of,  Merry  Wives  of 
Windsor,  iv.  5  ;  alluded  to,  1.  Henry  IV.,  iv.  2. 

Prodigies.     See  Omens,  Portents. 

Prodigious  (prodigal).  Two  Gentlemen  of  Verona,  ii.  3. 

Proditor  (traitor),  /.  Henry  VI.,  i.  3. 

Proface  (^jro  vi  faccia,  may  it  do  you  good),  //.  Henry  IV.,  v.  3. 

Proffers,  unaccepted,  AlVs  Well  that  Ends  Well,  ii.  1. 

Profligacy,  burns  out,  Richard  II,  ii.  1. 

Progeny  (progenitors),  Coriolanus,  i.  8. 

Progne,  Titus  Andronicus,  v.  2.  Sister  of  Philomela  and  wife 
of  Tereus.     She  was  changed  into  a  swallow.  ,  See  Tereus. 

Prolixious  (delaying),  Measure  for  Measure,  ii.  4. 

Prologue,  to  a  special  nothing,  AlVs  Well  that  Ends  Well,  ii.  1. 

Prologues  or  choruses  are  introduced  at  the  beginning  of  each 
act  in  Henry  V.,  of  Acts  i.  and  ii.  of  Romeo  and  Juliet,  and  at  the 
beginning  of  Henry  VIII. 

Promethean  fire,  the,  Love's  Labour's  Lost,  iv.  3 ;  Promethean 
heat,  Othello,  v.  2.  Prometheus  stole  fire  from  heaven  for  men,  and 
was  condemned  to  perpetual  imprisonment  on  INI^unt  Caucasus, 
where  a  vulture  continually  gnawed  his  vitals. 


INDEX  TO  SHAKSPERE'S   WORKS.  285 

Prometheus,  tied  to  Caucasus,  Titus  Andronicus,  ii.  1. 

Promise,  and  performance,  Timon  of  Athens,  v.  1 ;  kept  to  the 
ear,  3Iacbefh.  v.  7. 

Promises,  Timon  of  Athens,  i.  2,  "  His,  so  fly  beyond  his  state," 
etc. :  Merchant  of  Venice,  iv.  1,  "  Liberal  in  offers ; "  like  Adonis's 
gardens,  I.  Henry  VL,  i.  6 ;  mighty,  Henry  VIII.,  iv.  2 ;  of  the 
king,  /.  Henry  IV.,  iv.  3. 

Prom-ontory,  a  strong-based,  The  Tempest,  v.  1;  the  earth  a 
sterile,  Hamlet,  ii.  2. 

Prom.otion,  service  for.  As  You  Like  Ity  ii.  3  ;  many  so  arrive 
at  second  masters,  upon  their  first  lord's  neck,  Timon  of  Athens, 
iv.  3. 

Promptness,  AlVs  Well  that  Ends  Well,  v.  3,  "  Let's  take  the 
instant,"  etc. ;  Julius  Cmsar,  iv.  3,  "  There  is  a  tide,"  etc. ;  Macbeth, 
i.  7,  "  If  'twere  done  when  'tis  done,"  etc. ;  anticipating  time,  Troilus 
and  Cressida,  iv.  5  ;  we  must  do  something,  and  in  the  heat,  Ki7ig 
Lear,  i.  1.    See  also  Opportunity. 

Proniinciation,  criticism  on.  Love's  Labours  Lost,  v.  1. 

Proof,  of  men,  the  true,  Troilus  and  Cressida,  i.  3  ;  the  ocular, 
Othello,  Hi.  3 ;  let,  speak,  Cymbeline,  Hi.  1 ;  let  the  end  try  the 
man,  //.  Henry  IV.,  ii.  2. 

Proof,  lapped  in  (covered  with  armour  of  proof),  Macbeth, 
i.  2. 

Proper-false  (handsome  and  deceitful).  Twelfth  Night,  ii.  2. 

Propertied  (taken  possession  of).  Twelfth  Night,  iv.  2 ;  (en- 
dowed), Antony  and  Cleopatra,  v.  2. 

Property,  in  slaves,  Merchant  of  Venice,  iv.  1. 

Prophecy,  by  magic  art.  The  Tempest,  i.  2 ;  a,  King  John,  iv. 
2 ;  gift  of,  at  death,  Richard  II.,  ii.  1;  of  Merlin,  /.  Henry  IV.,  Hi. 
1 ;  the  king  was  the  moldwarp,  and  the  conspirators  a  dragon,  a 
lion,  and  a  wolf,  that  should  divide  the  realm  among  themselves ;  of 
Richard  II.,  II.  Henry  IV.,  Hi.  1 ;  may  be  drawn  from  history,  II. 
Henry  IV.,  Hi.  1 ;  of  the  king's  death,  //.  Henry  I V.,  iv.  4,  efid  ;  of 
Henry  V.,  I.  Henry  VL,  v.  1 ;  as  to  Henry  VI.,  I.  Henry  VL,  Hi.  1 ; 
regarding  Suffolk,  II.  Henry  VL,  i.  4 ;  iv.  1 ;  regarding  Somerset, 
II.  Henry  VL,  i.  4;  v.  2 ;  "The  Castle  "was  the  sign  of  an  ale- 
house ;  by  Margaret,  Richard  III.,  i.  3 ;  iv.  4;  v.  1 ;  regarding  the 
princess,  Richard  III.,  i.  1 ;  regarding  Richmond,  Richard  III,  iv. 
2  ;  of  Nicholas  Hopkins,  Henry  VIIL,  i.  2 ;  Wolsey's,  of  his  death, 
Henry  Vlll.^iv.  2 ;  Cranmer's,  concerning  Elizabeth  and  James  L, 
Henry  VIIL,  v.  5 ;  of  Cassandra,  Troilus  and  Cressida,  ii.  2 ;  of 
19 


286  INDEX  TO  SHAKSPERE'S  WORKS, 

Ulysses,  Troilus  and  Cressida,  iv.  5 ;  of  Hector's  death,  Troilus  and 
Cressida,  v.  3 ;  to  Caesar,  Julius  Ccesar,  i.  2 ;  of  the  witches,  Mac- 
beth, 1.  3 ;  Hi.  1 ;  of  the  fool,  King  Lear^  Hi.  2,  end ;  found  by 
Posthumus,  Cymbeline,  v.  4. 

Prophets,  jesters  oft  prove,  King  Lear,  v.  3  ;  lean-looked,  Rich- 
ard IL,  a.  4. 

Propontic,  the,  Othello,  Hi.  3. 

Proposing'  (conversing).  Much  Ado  about  Nothing,  Hi.  1. 

Propriety,  the  proper  self,  Twelfth  'Night,  v.  1. 

Prorogue  (prolong),  Pericles,  v.  1. 

Proscription,  by  Antony,  Octavius,  and  Lepidus,  Julius  Cocsar, 
iv.  1.  It  really  took  place,  not  in  Rome,  but  on  an  island  near 
Bologna. 

Proserpina,  A  Winter's  Tale,  iv.  3  or  4;  Troilus  and  Cres- 
sida, a.  1. 

Prosperity,  the  bond  of  love,  A  Winter's  Tale,  iv.  3 ;  begins  to 
mellow,  Richard  III.,  iv.  4 ;  all  men  akin  in,  Troilus  and  Cressida, 
i.  3 :  dangerous,  Julius  Ccesar,  ii.  1,  "  It  is  the  bright  day,"  etc. : 
friends  in,  Eamlet,  ii.  2,  "  It  is  not  very  strange,"  etc. 

Prospero,  the  rightful  Duke  of  Milan,  character  in  The  Tempest, 
introduced  in  i.  2.  He  has  acquired  magic  art  by  long  study,  which 
cost  him  his  throne,  for  his  brother  Antonio  has  taken  advantage  of 
his  inattention  to  outside  affairs  to  usurp  his  throne,  and  send  him 
and  his  little  daughter  to  perish  at  sea.  On  the  island  where  they 
are  cast  he  makes  use  of  his  magic  art  to  hold  in  subjection  Caliban 
and  the  spirits  of  the  air.  Though  a  fine  and  noble  character,  and  a 
most  loving  and  tender  father,  Prospero  repels  us  by  his  severity 
with  Ariel ;  but  this  severity  we  excuse  on  further  study  of  the  airy 
spirit.    See  Ariel. 

"  Prospero,  the  great  enchanter,  is  altogether  the  opposite  of  the 
vulgar  magician.  With  command  over  the  elemental  powers,  which 
study  has  brought  to  him,  he  possesses  moral  grandeur  and  a  com- 
mand over  himself,  in  spite  of  occasional  fits  of  involuntary  abstrac- 
tion and  of  intellectual  impatience  :  he  looks  down  on  life,  and  sees 
through  it,  yet  will  not  refuse  to  take  his  part  in  it.  .  .  .  It  has  been 
suggested  that  Prospero,  the  great  enchanter,  is  Shakspere  himself, 
and  that  when  he  breaks  his  staff,  drowns  his  book,  and  dismisses 
his  airy  spirits,  going  back  to  the  duties  of  his  dukedom,  Shakspere 
was  thinking  of  his  own  resigning  of  his  powers  of  imaginative  en- 
chantment, his  parting  from  the  theatre,  where  his  attendant  spirits 
had  played  their  parts,  and  his  return  to  Stratford." — Dowden. 

Protector,  the  Lord,  Gloucester's  (Richard  III.'s)  title  after  the 
death  of  Edward  IV.,  as  guardian  of  the  young  king. 


INDEX  TO  SHAKSPERE'S  WORKS.  287 

Protestations,  of  innocence,  J.  Winter's  Tale,  Hi.  2 ;  of  love, 
Richard  III.,  iv.  4  ;  too  many,  Hamlet,  Hi.  2. 

Proteus,  III.  Henry  VI.,  Hi.  2.  He  was  a  son  of  Neptune,  and 
changed  his  shape  at  will. 

Proteus,  one  of  the  Two  Gentlemen  of  Verona,  keener  and 
brighter  than  his  friend  Valentine,  whom  he  tries  to  supplant,  but 
fickle  and  treacherous. 

Proud,  the,  respect  only  the  proud,  /.  Henry  IV.,  i.  3. 

Proverbs,  on  tapestry  and  in  rings.  As  You  Like  It,  Hi.  2. 

Proverbs  and  Proverbial  Expressions,  quoted  or  alluded  to : 
A  crafty  knave  needs  no  broker,  //.  Henry  VI.,  i.  2 ;  a.  finger  in 
every  pie,  Henry  VIII.,  i.  1 ;  a,  fool's  bolt  is  soon  shot.  As  You  Like 
It,  V.  4  ;  Henry  V.,  Hi.  7;  a  friend  in  the  court  is  as  good  as  a  penny 
in  the  purse,  II.  Henry  IV.,  v.  1 ;  a  good  candle-holder  proves  a  good 
gamester,  Romeo  and  Jidiet,  i.  ^;  a  little  pot  is  soon  hot.  Taming  of 
the  Shreiv,  iv.  1;  all  men  are  not  alike.  Much  Ado  about  Nothing, 
Hi.  5  ;  all's  well  that  ends  well,  AlVs  Well  that  Ends  Well,  iv.  4  ; 
V.  1 ;  all  that  glisters  is  not  gold,  3Ierchant  of  Venice,  ii.  7  ;  a  man 
must  not  choose  a  wife  in  Westminster,  a  servant  in  Paul's,  or  a 
horse  in  Smithfield,  lest  he  choose  a  quean,  a  knave,  or  a  jade,  II. 
Henry  IV.,  i.  2 ;  see  Paul's;  an  old  cloak  makes  a  new  jerkin. 
Merry  Wives  of  Windsor,  i.  3 ;  an  old  man  is  twice  a  child,  Hamlet, 
ii.  2  ;  an  two  men  ride  of  a  horse,  one  must  ride  behind.  Much  Ado 
about  Nothing,  Hi.  5;  a  pair  of  shears  went  between  us,  Pleasure 
for  Measure,  i.  2,  3  ;  a  pox  of  the  devil,  Henry  V.,  Hi.  7  ;  as  mad  as 
a  March  hare,  Two  Noble  Kinsmen,  Hi.  5;  a  smoky  house  and  a 
railing  wife,  I.  Henry  IV,  Hi.  1 ;  a,  snake  in  the  grass,  II.  Henry 
VL.  Hi.  1 ;  as  sound  as  a  bell,  31uch  Ado  about  Nothing,  Hi.  2  ;  a 
staff  is  quickly  found  to  beat  a  dog,  II.  Henry  VI.,  Hi.  1 ;  as  true  as 
steel,  Troilus  and  Cressida,  Hi.  2 ;  at  hand,  quoth  pick-purse,  L 
Henry  IV.,  ii.  1 ;  a,  wise  man  may  live  anywhere,  Richard  II.,  i.  3  ; 
a  woman  will  not  tell  what  she  does  not  know,  /.  Henry  IV.,  ii.  3 ; 
a  world  to  see,  Much  Ado  about  Nothing,  Hi.  5  ;  ay,  tell  me  that  and 
unyoke,  Hamlet,  v.  1.  Bairns  are  blessings,  AlVs  Well  that  Ends 
Well,  i.  3 ;  be  jogging  while  your  boots  are  green,  Taming  of  the 
Shrew,  Hi.  2  ;  beggars  mounted  run  their  horses  to  death.  III.  Hen- 
ry VL,  i.  4 ;  better  a  witty  fool  than  a  foolish  wit,  Twelfth  Night, 
i.  5  ;  better  fed  than  taught,  AlVs  Well  thai  Ends  Well,  ii.  2 ;  birds 
of  a  feather,  III.  Henry  VI. ,  Hi.  3 ;  black  men  are  pearls  in  beau- 
teous ladies'  eyes.  Two  Gentlemen  of  Verona,  v.  2 ;  blessing  of  your 
heart,  you  brew  good  ale,  Two  Gentlemen  of  Verona,  Hi.  1 ;  blush 


288  INDEX  TO  SHAKSPERE'S  WORKS. 

like  a  black  dog,  Tittus  Andronicus,  v.  1 ;  bought  and  sold,  Comedy 
of  Errors,  Hi.  1 ;  King  John,  v.  4. ;  Richard  III.,  v.  3 ;  Brag's  a 
good  dog,  but  Hold-fast  is  better,  Henry  F..  ii.  3 ;  buttered  the 
horse's  hay.  King  Lear,  ii.  4-  Cake  is  dough,  Taming  of  the  Shrew, 
I.  1 ;  V.  1 ;  care  killed  a  cat.  Much  Ado  about  Nothing,  u.  1;  carry 
coals  to  Cancer,  Troilus  and  Gressida,  ii.  3  ;  come  cut  and  long-tail, 
3Ierry  Wives  of  Windsor,  Hi.  4  ;  comparisons  are  odorous,  Much  Ado 
about  Nothing,  Hi.  5 ;  confess  and  be  hanged,  Othello,  iv.  1;  cry 
him  and  have  him.  As  You  Like  It,  i.  3  ;  cry  you  mercy,  I  took  you 
for  a  joint-stool.  King  Lear,  Hi.  6 ;  cucullus  non  facit  monachum 
(the  cowl  does  not  make  the  monk).  Measure  for  Measure,  v.  1 ; 
Twelfth  Night,  i.  5  ;  Henry  VIIL,  Hi.  1.  Dance  barefoot  at  the 
wedding,  Taming  of  the  Shrew,  ii.  1  (said  of  an  elder  unmarried 
sister);  dead  as  a  door-nail,  II.  Henry  IV.,  v.  3 ;  II.  Henry  VL,  iv. 
10 ;  death  will  have  his  day,  Richard  II.,  Hi.  2 ;  delays  are  danger- 
ous, I.  Henry  YL,  Hi.  2  ;  diluculo  surgere  saluberrimum  est  (to  rise 
early  is  most  healthful),  Twelfth  Night,  ii.  3 ;  dogs  must  eat,  Corio- 
lanus,  i.  1;  dun's  the  mouse,  Romeo  and  Juliet,  i.  4-  Empty  vessels 
sound  loudest,  Henry  Y.,  iv.  4;  every  dog  has  his  day,  Hamlet, 
V.  1 ;  every  man  at  forty  is  a  fool  or  a  physician,  Merry  Wives  of 
Windsor,  Hi.  4 ;  every  man  to  his  trade,  Romeo  and  Juliet,  i.  2 ; 
every  why  has  a  wherefore,  Comedy  of  Errors,  ii.  2.  Familiarity 
breeds  contempt,  Jlerry  Wives  of  Windsor,  i.  1;  fast  bind,  fast 
find,  Merchant  of  Yenice,  H.  5 ;  feast-won,  fast-lost,  Timon  of 
Athens,  ii.  2 ;  finis  coronat  opus  (the  end  crowns  the  work),  AlVs 
Well  that  Ends  Well,  iv.  4;  II.  Henry  YL,  v.  2;  Troilus  and  Cres- 
sida,  iv.  5  ;  fire  that's  closest  kept  burns  most  of  all.  Two  Gentlemen 
of  Yerona,  i.  2 ;  fly  pride,  says  the  peacock.  Comedy  of  Errors,  iv. 
3 ;  friends  may  meet,  but  mountains  never  greet.  As  You  Like  It^ 
Hi.  2.  Give  the  devil  his  due,  I.  Henry  lY,  i.  2;  Henry  Y.,  Hi.  7; 
God's  a  good  man,  3Iuch  Ado  about  Nothing,  Hi.  5 ;  God  sends  a 
cursed  cow  short  horns,  3Iuch  Ado  about  Nothing,  ii.  1 ;  God  sends 
a  fool  fortune,  As  You  Like  It,  ii.  7 ;  good  hanging  prevents  bad 
marriage,  Twelfth  Night,  i.  5  ;  good  liquor  will  make  a  cat  talk.  The 
Tempest,  ii.  2  ;  good  wine  needs  no  bush,  As  You  Like  It,  v.  4,  epi- 
logue ;  to  bed  at  noon,  to  supper,  etc.,  King  Lear,  Hi.  6.  Hanging  and 
wiving  go  by  destiny.  Merchant  of  Yenice,  ii.  9 ;  happy  man  be  his 
dole.  Taming  of  the  Shrew,  i.  1;  A  Winter's  Tale,  i.  2;  I.  Henry 
lY.,  ii.  2 ;  happy  the  child  whose  father  went  to  the  devil,  ///. 
Henry  YL,  ii.  3;  have  is  have,  however  men  do  catch.  King  John, 
i,  1;  Heaven's  above  all,  Richard  IL,  Hi,  3  ;  Othello,  ii.  3;  he  must 


INDEX  TO  SHAKSPERE'S    WORKS.  289 

needs  go  that  the  devil  drives,  AlVs  Well  that  Ends  Well,  i.  3  ;  he 
that  dies  pays  all  debts.  The  Tempest,  iii.  2;  he  that  eats  with  the 
devil  needs  a  long  spoon,  The  Tempest,  ii.  2  ;  Comedy  of  Errors,  iv. 
3;  he  that  will  have  a  cake  out  of  the  wheat  must  tarry  the  grind- 
ing, Troilus  and  Cressida,  i.  1 ;  honest  as  the  skin  between  his  eye- 
brows, Much  Ado  about  Nothing,  Hi.  5 ;  Honour's  train  is  longer 
than  his  foreskirt,  Henry  VIII.,  ii.  3 ;  hunger  breaks  stone  walls, 
CorioJanus,  i.  1.  If  that  you  will  France  win,  Then  with  Scotland 
first  begin,  Henry  V.,  i.  2  ;  ill  blows  the  wind  that  profits  nobody, 
//.  Henry  IV.,  v.  3 ;  III.  Henry  VI.,  ii.  5;  ill-gotten  goods  neyer 
prosper.  III.  Henry  VI.,  ii.  2 ;  I'll  make  a  shaft  or  a  bolt,  Merry 
Wives  of  Windsor,  Hi.  4;  Ill-will  never  said  well,  Henry  V.,  iii.  7  ; 
it  is  a  foul  bird  that  defiles  its  own  nest,  As  You  Like  It,  iv.  1 ;  it  is 
an  ill  cook  that  cannot  lick  his  own  fingers,  Romeo  and  Juliet,  iv.  2 ; 
k  is  a  poor  dog  that  is  not  worth  the  whistle.  King  Lear,  iv.  2  ;  it  is 
easy  stealing  a  shive  from  a  cut  loaf,  Titus  Andronicus,  ii.  1;  it's  a 
dear  collop  that's  cut  from  one's  own  flesh,  /.  Henry  VI.,  v.  4.  Jack 
shall  have  Jill,  Love's  Labour's  Lost,  v.  2 ;  Midsummer-NigM s 
Dream,  iii.  2 ;  John  Drum's  entertainment,  AlVs  Well  that  Ends 
Well,  iii.  6.  Know  a  hawk  from  a  hand-saw,  Hamlet,  ii.  2.  Laid  on 
with  a  trowel,  As  You  Like  It,i.  2 ;  lead  apes  in  hell,  Much  Ado 
about  Nothing,  ii.  1 ;  Taming  of  the  Shrew,  ii.  1 ;  fits  all,  like  a 
barber's  chair,  AlVs  Well  that  Ends  Well,  ii.  2 ;  losers  have  leave 
to  talk,  Titus  Andronicus,  Hi.  1 ;  lost  teeth  in  the  service,  As  You 
Like  It,  i.  1.  Make  hay  while  the  sun  shines,  HI.  Henry  VI.,  iv.  8  ; 
measure  for  measure,  Measure  for  Measure,  v.  1 ;  meat  was  made 
for  mouths,  Coriolanus,  i.  1 ;  misfortunes  come  not  singly,  Hamlet, 
iv.  5  ;  more  water  glides  by  the  mill  than  the  miller  wots  of.  Titus 
Andronicus,  ii.  1.  Neither  fish  nor  flesh,  1.  Henry  lV.,iii.  3 ;  not  a 
word  to  throw  at  a  dog,  As  You  Like  It,  i.  S;  now  she  sharpens; 
well  said,  Whetstone,  Troilus  and  Cressida,  v.  2.  Omittance  is  no 
quittance,  As  You  Like  It,  iii.  5 ;  one  born  to  be  hanged  will  never 
be  drowned,  The  Tempest,  i.  1 ;  one  fire  drives  out  one  fire,  Corio- 
lanus, iv.  7  ;  one  is  no  number,  Romeo  and  Juliet,  i.  2  ;  one  may  see 
day  at  a  little  hole.  Love's  Labour's  Lost,  v.  2  ;  one  nail  drives  out 
another,  Coriolanus,  iv.  7  ;  out  of  God's  blessing  into  the  warm  sun, 
King  Lear,  ii.  2.  Past  cure,  past  care.  Love's  Labour's  Lost,  v.  2  ; 
patience  perforce  is  medicine  for  a  mad  dog,  Romeo  and  Juliet,  i.  5 ; 
pitch  and  pay,  Henry  V.,  ii.  3 ;  pitchers  have  ears,  Taming  of  the 
Shrew,  iv.  4;  poor  and  proud.  Twelfth  Night,  Hi.  1;  praise  in  de- 
psj-ting,  The   Tempest,  iii.  3,    Rules  the  roast,  //.  Heriry  VI.,  i.  1. 


290  INDEX  TO  SHAKSPERE'S  WORKS. 

Satis  quod  suflBcit,  Loves  Labour^s  Lost,  v.  1 ;  seldom  comes  the 
better,  Richard  III.,  ii.  3 ;  service  is  no  heritage,  AlVs  Well  that 
Ends  Well,  i.  3  ;  si  fortuna,  etc.  (if  fortune  torment  me,  hope  will 
content  me),  //.  Henry  IV.,  v.  5 ;  she  has  the  mends  in  her  own 
hands,  Troilus  and  Cressida,  i.  1;  sink  or  swim,  I.  Henry  IV.,  i.  3 ; 
sits  the  wind  in  that  corner,  3Iuch  Ado  about  Nothing,  ii.  3 ;  small 
herbs  have  grace,  great  weeds  do  grow  apace,  Richard  III.,  ii.  4 ; 
sold -for  a  song,  AlVs  Well  that  Ends  Well,  Hi.  2  ;  sow  cockle,  reap 
no  corn.  Love's  Labour's  Lost,  iv.  3 ;  speak  by  the  card,  Hamlet,  v. 
i;. springes  to  catch  woodcocks,  Hamlet,  i.  3 ;  steal  an  Qgg  from  a 
cloister,  AlVs  Well  that  Ends  Well,  iv.  3 ;  still  swine  eat  all  the 
draff,  Merry  Wives  of  Windsor,  iv.  2 ;  still  waters  run  deep,  //. 
Henry  VI.,  Hi.  1 ;  strike  while  the  iron  is  hot,  III.  Henry  VI.,  v. 
L  Take  all,  pay  all.  Merry  Wives  of  Windsor,  ii.  2 ;  take  eggs  for 
money  (bear  insults),  A  Winter's  Tale,  i.  2  ;  take  mine  ease  in  mine 
inn,  /.  Henry  IV.,  Hi.  3 ;  tell  the  truth  and  shame  the  devil,  /.  Hen- 
ry I  v..  Hi.  1 ;  the  cat  would  eat  fish  but  would  not  wet  her  feet, 
Macbeth,  i.  7 ;  the  end  crowns  all,  see  Finis,  etc. ;  the  ewe  that  will 
not  hear  her  lamb  when  it  baes  will  never  answer  a  calf  when  it 
bleats,  Much  Ado  about  Nothing,  Hi.  3 ;  the  fool  thinks  he  is  wise, 
but  the  wise  man  knows  he  is  a  fool,  As  You  Like  It,  v.  1;  the 
galled  jade  will  wince,  Hamlet,  Hi.  2 ;  the  grace  of  God  is  gear 
enough,  Merchant  of  Venice,  ii.  2 ;  the  hare's  valour  plucks  dead 
lions  by  the  beard,  King  John,  ii.  1 ;  the  raven  chides  blackness, 
Troilus  and  Cressida,  H.  3  ;  there  is  flattery  in  friendship,  Henry  V., 
Hi.  7 ;  the  third  pays  for  all.  Twelfth  Night,  v.  1 ;  the  weakest  goes 
to  the  wall,  Romeo  and  JuUet,  i.  1 ;  the  world  on  wheels,  Antony 
and  Cleopatra,  H.  7 ;  three  women  and  a  goose  make  a  market, 
Lovers  Labour's  Lost,  Hi.  1 ;  touch  pitch  and  be  defiled.  Much  Ado 
about  Nothing,  Hi.  3 ;  I.  Henry  IV.,  ii.  If.;  II.  Henry  VI..  ii.  1; 
truth  should  be  silent,  Antony  and  Cleopatra,  ii.  2 ;  two  may  keep 
counsel  when  the  third's  away,  Titus  Andronicus,  iv.  2.  Walls  hear 
without  warnings,  Midsummer-Night'' s  Dream,  v.  1 ;  we  burn  day- 
light. Romeo  and  Juliet,  i.  4.;  wedding  and  ill-wintering  tame  man 
and  beast,  Taming  of  the  Shrew,  iv.  1;  when  the  age  is  in,  the  wit 
is  out,  Much  Ado  about  Nothing,  Hi.  5 ;  while  the  grass  grows,  oft 
starves  the  steed,  Hamlet,  Hi.  2 ;  woo  in  haste  and  wed  at  leisure, 
Taming  of  the  Shrew,  Hi.  2. 

Providence,  work  of.  AlVs  Well  that  Ends  Well,  ii.  1;  we  are 
In  God's  hand,  Henry  V..  Hi.  G :  Heaven  has  an  end  in  all,  Henry 
VIII.,  ii.  1 ;  there's  a  divinity  that  shapes  our  ends,  Hamlet,  v.  2 ; 


INDEX  TO  SHAKSPERE'S   WORKS.  291 

denies  us  lov  our  good,  Antony  and  Cleopatra,  ii.  1 ;  a,  special,  in  the 
fall  of  a  sparrow,  Hamlet,  v.  2.     See  Heaven. 

Provincial,  here  (of  this  province).  Measure  for  Measure,  v.  1. 

Provost,  a,  or  jailer,  character  in  Measure  for  Measure,  intro- 
duced in  i.  3,  a  merciful  man  who  seeks  to  mitigate  the  severity  of 
Angelo's  justice. 

Prudence,  Much  Ado  about  Nothing,  ii.  1,  "  Let  every  eye  nego- 
tiate for  itself,"  etc. ;  Henry  Y.,  ii.  3,  "  Trust  none,"  etc. ;  He^ary 
VIIL,  i.  1,  "  Be  advised,"  etc. ;  Henry  VIII.,  i.  2,  "  Things  done 
well,"  etc. ;  Richard  III,  Hi.  3,  "  When  clouds  are  seen,"  etc. ;  when 
about  to  build  a  house  or  a  kingdom,  //.  Henry  IV.,  i.  3  ;  men  do 
their  broken  weapons  rather  use  than  their  bare  hands,  Othello,  i.  3. 

Psalm,  the  hundredth.  Merry  Wives  of  Windsor,  ii.  1. 

Psalmist,  the,  II.  Henry  IV.,  Hi.  2. 

Ptolemy,  Antony  and  Cleopatra,  Hi.  6. 

Publican,  a  fawning,  Merchant  of  Venice,  i.  3. 

Publius,  son  of  Marcus,  in  Titus  Andronicus,  introduced  in  iv.  3. 

Publius  Silicius,  a  senator  and  a  friend  of  Caesar's,  character 
in  Julius  CcEsar,  introduced  in  ii.  2. 

Puck,  or  Robin  Goodfellow,  a  fairy  in  the  Midsummer- Nighfs 
Dream,  introduced  in  ii.  1.  He  is  a  merry  jester,  a  sort  of  clown 
among  the  other  daintier  fairies.  A  book  of  his  "  Mad  Pranks  and 
Merry  Jests"  is  known  to  have  been  published  in  1628,  but  it  is 
supposed  that  an  edition  had  appeared  forty  years  earlier. 

Pueritia  (boyhood).  Love's  Lahour's  Lost,  v.  1. 

Pugging  (thieving),  A  Winter's  Tale,  iv.  2  or  3. 

Puke-stocking  (puce,  a  dark  colour),  I  Henry  IV.,  ii.  4- 

Pulpiter,  most  gentle.  As  You  Like  It,  Hi.  2.  Jupiter  in  some 
editions. 

Punctuation,  Midsummer-NigM s  Dream,  v.  1, prologue, "  Stand- 
ing upon  points." 

Punishment,  capital,  argument  on.  Measure  for  Measure.  i%.  2. 

Punishments,  mentioned.  See  Baffle,  Crown,  Hack,  Pil- 
lory, Rack,  Stigmatic.  Stocks,  Strappado,  Wheel,  Whipping 
Wisp. 

Punning,  Merchant  of  Venice,  Hi.  5,  "How  every  fool  can 
play  upon  the  word ; "   Twelfth  Night,  Hi.  1. 

Punto  (thrust).  Merry  Wives  of  Windsor,  H.  3 ;  reverse  (back- 
handed), Romeo  and  Juliet,  ii.  4. 

Purchase,  fourteen-years,  Tivelfth  Night,  iv.  1.  Twelve  was 
the  usual  time. 


292  INDEX   TO   SHAKSPERE'S  WORKS. 

Purchase  (profit),  /.  Henry  IV.,  ii.  1.  Purchase  was  also  a 
slang  term  for  stolen  goods. 

Purgation  (examination),  As  You  Like  It,  v.  4. 

Purgatory,  Hamlet,  i.  5  ;  Othello,  iv.  3. 

Puritan(s),  allusions  to :  Wear  the  surplice  over  the  gown — 
meet  Papists,  AlVs  Well  that  Ends  Well,  i.  3 ;  Malvolio  a  kind  of, 
Twelfth  Night,  ii.  3 ;  sings  psalms,  A  Winter's  Tale,  iv.  2  or  3 ; 
''Tribulation  of  Tower  Hill,"  in  Henry  VIIL,  v,  Jj.,  is  by  some  sup- 
posed to  be  an  allusion  to  the  Puritans.     See  Limehouse. 

Purples,  Hamlet,  iv.  7.     The  early  purple  orchis. 

Purpose,  let  not,  be  shaken  with  compunction,  Macbeth,  i.  5 ; 
the  deed  should  go  with  the.  Macbeth,  iv.  1 ;  slave  to  memory,  Ham- 
let, Hi.  2,  speech  of  Player  King ;  must  weigh  with  the  folly,  II.  Hen- 
ry 1  v.,  ii.  2. 

Pursuit,  pleasure  of.  Merchant  of  Venice,  ii.  6;  Troilus  and 
Cressida,  i.  2  ;  Antony  and  Cleopatra,  iv.  7  ;  III.  Henry  VI.,  ii.  5. 

Push-pin,  game  of,  Love's  Labour's  Lost,  iv.  3.  It  was  played 
by  simply  pushing  pins  across  one  another. 

Putter-out  of  five  for  one.  The  Tempest,  Hi.  3.  That  is,  of 
money,  as  was  done  by  voyagers  to  distant  countries.  If  they  did 
not  appear  to  claim  the  five  hundred  per  cent.,  the  borrower  kept 
the  principal. 

Puttock  (kite),  Cymbeline,  i.  1. 

Pygmalion,  Measure  for  Measure,  Hi.  2.  Allusion  to  the  ivory 
statue  that  he  made,  which  was  endowed  with  life  by  Venus. 

Pyramids,  the.  Sonnet  cxxii  ;  Antony  and  Cleopatra,  ii.  7 ;  v.  2. 

Pyramus,  a  character  in  the  play  acted  in  the  Midstanmer- 
Nighfs  Dre.rm  before  the  duke.  The  part  is  taken  by  Bottom.  In 
the  old  story,  Pyramus  was  the  handsomest  youth,  and  Thisbe  the 
fairest  maiden,  in  all  Babyl6nia,  where  Semiramis  reigned  ;  allusion 
to,  Titus  Andronicus,  ii.  3  or  4. 

Pyramus  and  Thisbe,  the  play  acted  before  the  duke  in  Mid- 
summer-Night's Dream,  i.  2  ;  Hi.  1;  v.  1. 

Pjn'rhus,  Troilus  and  Cressida,  Hi.  3 ;  Hamlet,  H.  2 ;  Lucrece, 
lines  1U9,  U67.     He  killed  Priam. 

Pythagoras,  doctrine  of  (transmigration  of  souls).  Merchant  of 
Venice,  iv.  1 ;  As  You  Like  It,  Hi.  2 ;   Twelfth  Night,  iv.  2. 

duails,  fighting,  Antony  and  Cleopatra,  ii.  3. 
Q,uaint  (neat,  ingenious),  Two  Oentlemen  of  Verona,  ii.  1 ;  Hi. 
1 :  Taming  of  the  Shrew,  iv.  3,  and  elsewhere. 


INDEX  TO  SHAKSPERE'S  WORKS.  293 

duare  (wherefore),  Love's  Labour\'i  Lost,  v.  1. 

Q,uarrel(s),  no  valour  in  a  false,  Much  Ado  about  Nutliiny,  i\ 
I;  between  Hermia  and  Helena — Lysander  and  Demetrius,  Mid- 
summer-Nighfs  Dream,  Hi.  2 ;  the  seven  causes  of,  As  You  Like  It, 
V.  4  ;  between  Laf eu  and  Parolles,  AlVs  WeU  that  Ends  Well,  ii.  3, 
"  Do  you  hear,"  etc. ;  of  Constance  and  Elinor,  King  John,  ii.  1 ; 
should  be  left  to  Heaven,  Richard  II.,  i.  2 ;  Richard  III.,  i.  4;  of 
Pistol  and  Nym,  Henry  V.,  ii.  1 ;  of  an  Irishman  and  a  Welshman, 
Henry  V.,  Hi.  2 ;  of  Pistol  and  Fluellen,  Henry  V.,  v.  1 ;  of  Boling- 
broke  and  Norfolk,  Richard  II.,  i.  1-3 ;  II.  Henry  IV.,  iv.  1;  of 
Vernon  and  Basset,  I.  Henry  YL,  Hi.  4 ;  iv.  1 ;  Just,  //.  Henry  YL, 
Hi.  2  ;  among  sons  and  brothers,  ///.  Henry  YL,  i.  2  ;  of  Gloucester, 
Elizabeth,  and  Margaret,  Richard  IIL,  i.  3 ;  seeking  a,  Romeo  and 
Juliet,  Hi.  1 ;  beware  of  entrance  to,  Hamlet,  i.  3 ;  2,  drunkard  full 
of,  Othello,  H.  3  ;  between  Antony  and  Caesar,  Antony  and  Cleopatra, 
ii.  2  ;  between  Plantagenet  and  Somerset,  I.  Henry  YL,  H.  4  >'  thrice 
is  he  armed  that  hath  his  quarrel  just,  II.  Henry  YL,  Hi.  2. 

Q,uart  d'ecu  (about  eightpence),  AlVs  Well  that  Eyids  Well, 
iv.  3. 

Q,uat  (pimple),  Othello,  v.  1. 

Q,ueen,  Margaret  asserts  her  right  to  h^,  Richard  IlL.i.S; 
Anne  would  not  be  a,  Henry  YIIL,  ii.  3 ;  over  passion,  King  Lear, 
iv.  3;  in  jest,  Richard  III.,  iv.  4  ;  of  Carthage,  see  Dido. 

dueen  of  Night,  thrice  crowned.  As  Yon  Like  It,  Hi.  2.  Di- 
ana, Luna,  Hecate,  a  triune  goddess. 

dueen  of  Richard  II.     See  Isabella. 

dueen,  Cymbeline's,  character  in  the  play,  first  appears  in  scene 
i.  She  is  the  step-mother  of  Imogen,  whom  she  hates  for  rejecting 
her  son  Cloten.  She  is  able,  crafty,  and  unscrupulous,  and  has  com- 
plete ascendancy  over  Cymbeline.  She  gets  the  supposed  poison, 
i.  5  ;  her  ability,  ii.  1,  end  ;  her  death  and  confession,  v.  5. 

duell  (murder),  Macbeth,  i.  7. 

duem  (hand-mill),  3Iidsummer-Nighfs  Dream,  ii.  L 

duestionable  (conversable),  Hamlet,  i.  4. 

duestions,  a  lover's.  As  You  Like  It,  Hi.  2. 

duibbling".     See  Punxing, 

duickly,  ^Mistress,  hostess  of  the  Boar's  Head  tavern  in  East- 
cheap,  character  in  I.  Henry  lY,  introduced  in  H.  4;  in  II.  Henry 
%IY..  introduced  in  ii.  1;  and  in  Henry  Y,  in  ii.  1.  In  the  latter 
play  she  is  represented  as  married  to  Pistol,  who  speaks  of  her  death 
mv.  1\  she  is  also  a  character  in  the  Merry  Wives  of  Windsor,  first 


294  INDEX  TO  SHAKSPERE'S  WORKS. 

spoken  of  in  i.  2,  and  introduced  in  i.  4.  She  is  housekeeper  and 
servant  for  Dr.  Caius,  and  an  agent  for  the  suitors  of  Anne  Page. 
The  identity  of  the  Mrs.  Quickly  of  the  comedy  with  the  Mrs. 
Quickly  of  the  historical  plays  has  been  questioned,  but  without 
much  reason. 

Q,iiicksilver,  fled  like,  II.  Henry  IV.,  ii.  4. 

Q,uiddits  (quibblings,  equivocation),  Hamlet,  v.  1. 

Q,ui  est  la  ?  Paysans,  etc.,  /.  Henry  YI.,  Hi.  2.  Who  is  there  ? 
Peasants,  poor  people  of  France. 

duietus  (settlement,  as  of  accounts),  Hamlet,  Hi.  1. 

Q,uill,  in  the,  II.  Henry  VI.,  i.  3.  Of  uncertain  meaning;  either 
in  the  quile,  meaning  heap,  or  in  the  coil,  that  is,  in  the  confusion  of 
the  crowd. 

duillets  (quibbles),  Love's  Labour's  Lost,  iv.  3 ;  I.  Henry  VI., 
ii.  4 :  II.  Henry  VI.,  Hi.  1. 

Q,uills,  the  porcupine's,  Hamlet,  i.  5. 

duince,  Peter,  a  character  in  Midsummer-Nighf s  Dream,  intro- 
duced in  i.  2.  He  is  a  carpenter,  and  takes  the  prologue  in  the  play 
before  the  duke,  and  the  character  of  Thisbe's  father.  He  is  the 
manager  of  the  performance,  and  a  poet  as  well,  for  Bottom  says, 
"  I  will  get  Peter  Quince  to  write  a  ballad  of  this  dream."  He  makes 
some  of  the  funniest  blunders  in  the  piece,  and  in  the  prologue 
"  doth  not  stand  upon  points." 

Q,uintain,  As  You  Like  It,  i.  2.  A  wooden  figure  on  which 
young  men  practised,  in  their  training  in  the  use  of  arms. 

Q,uintus,  son  of  Titus  Andronicus  in  the  play  of  that  name,  in- 
troduced in  i.  1  ov  2 ;  falls  into  the  grave  of  Bassianus,  and  is  taken 
for  his  murderer,  ii.  3  or  4;  executed,  Hi.  1. 

Q,uip  modest,  the.     See  Duelling. 

Q,uis  (who).  Love's  Labour's  Lost,  v.  1. 

Q,uit  (avenge),  King  Lear,  Hi.  7. 

Q,uod  me  alit,  etc.,  Pericles,  ii.  2.  What  nourishes,  extin- 
guishes me. 

duoint,  Francis,  mentioned  in  Richard  II..  ii.  1,  as  one  of  the 
companions  of  Bolingbroke. 

duoits,  the  game  of,  II.  Henry  IV.,  H.  4- 

duoniam.  (wherefore),  Love's  Labour's  Lost,  v.  2. 

duotations,  of  Scripture,  Richard  III.,  i.  3 ;  Merchant  of  Ven- 
ice, i.  3  ;  Hi.  2.  • 

duotations,  in  the  plays.  See  Horace,  Lilly,  Ovid,  Seneca, 
Sidney,  and  other  names  of  authors  quoted  from. 


INDEX  TO  SHAKSPERE'S   WORKS,  295 

Q,uoted  (noticed),  Hamlet,  ii.  1.  Pronounced  and  sometimes 
written  cote. 

Quotidian  (daily  fever),  of  love,  As  You  Like  It,  Hi.  2. 

R,  the  dog's  name,  Romeo  and  Juliet,  ii.  4.  Dogs  were  said  to 
arre  and  bark. 

Rabato  (ruff),  JIuch  Ado  about  Nothing,  Hi.  4. 

Rabble,  the,  Hamlet,  iv.  5  or  2;  I.  Henry  IV.,  w.  2.  See 
Mobs,  Multitude. 

Rack,  the,  Measure  for  Measure,  iv.  1 ;  called  an  engine.  King 
Lear,  i.  4  ;  Henry  VI.,  ii.  5 ;  of  this  tough  world.  King  Lear,  v,  3. 

Rack  (clouds),  Antony  and  Cleopatra,  iv.  12  or  14  ;  Hamlet,  ii.  2. 
The  word  in  "  leave  not  a  rack  behind,"  Tlie  Tempest,  iv.  1,  may- 
have  the  same  meaning,  or  may  mean  ivreck,  as  in  "  rack  and  ruin." 

Rage,  tiger-footed,  Coriolanus,  Hi.  1 ;  deaf  as  the  sea,  hasty  as 
fire,  Richard  II,  i.  1 ;  of  the  great,  Antony  and  Cleopatra,  iv.  1 ; 
labyrinth  of  fury,  Troilus  and  Cressida,  ii.  3 ;  eyeless,  King  Lear, 
Hi.  1. 

Raggedness,  looped  and  windowed.  King  Lear,  Hi.  4. 

Ragged-robin,  said  to  be  the  "  cuckoo-flowers,"  King  Lear,  iv.  4. 

Raging-wood  (raging-mad),  /.  Henry  VI.,  iv.  7. 

Ragozine,  a  pirate  mentioned  in  Pleasure  for  Measure,  iv.  3. 

Railing,  As  You  Like  It,  iv.  3 ;  Twelfth  Night,  i.  5 ;  Troilus 
and  Cressida,  i.  3 ;  H.  1 ;  Hamlet,  ii.  2  ;  King  Lear,  H.  2. 

Rain,  the,  it  raineth  every  day,  song,  Twelfth  Night,  v.  1 ;  invo- 
cation to,  King  Lear,  Hi.  2. 

Rainbow,  the,  The  Tempest,  iv.  1;  secondary,  called  water- 
galls,  Lucrece,  I.  1688.    See  Iris. 

Rally,  a,  in  battle,  Cymheline,  v.  3. 

Rambures,  a  French  lord  in  Henry  V.,  first  appears  in  Hi.  7 ; 
his  death  at  Agincourt,  iv.  8. 

Ramston,  Sir  John  (correctly  Thomas),  mentioned  in  Richard 
II,  ii.  1,  as  one  of  the  adherents  of  Bolingbroke.  He  was  warden 
of  the  Tower  when  Richard  was  imprisoned  there. 

Rancour,  will  out,  //.  Henry  VI,  i.  1. 

Rank,  pride  and  distinctions  of,  AlPs  Well  that  Ends  Well,  H. 
3  ;  differences  and  indications  of,  A  Winter's  Tale,  iv.  3  ox  4  ;  dis- 
grace to,  /.  Henry  IV,  Hi.  2;  proper  observance  of,  Troilus  and 
•Cressida,  i.  3 ;  one's  own  doing,  Julius  Ciesar,  i.  2;  disadvantage 
of,  Cymheline,  ii.  1. 

Rank  (jog).  As  You  Like  It^  Hi.  2. 


296  INDEX  TO  SHAKSFEBE'S   WORKS, 

Ransom,  for  life,  Comedy  of  Errors,  i.  1 ;  demand  for  a,  Henry 
v.,  iv.  3  ;  v.  3,  5,  6 ;  the  sepulchre  of  the  world's,  Richard  II.,  ii.  1, 

Rape  of  Lucrece,  the.     See  Lucrece. 

Raps  (enwraps),  Cymheline,  i.  6. 

Rapture  (fit),  Coriolanus,  ii.  1. 

Rareness.     See  Popularity. 

Rarity,  gives  value.  Sonnet  Hi. 

Rascal  (a  lean  deer),  I.  Henry   VI.,  iv.  2,  and  elsewhere. 

Rash,  Master,  a  prisoner,  Pleasure  for  Measure,  iv.  3. 

Rat(s),  Hamlet,  Hi.  4 ;  leave  a  doomed  ship.  The  Tempest,  i.  2 ; 
an  Irish,  As  You  Like  It,  Hi.  2.  Referring  to  the  saying  that  rats 
were  i-hymed  to  death  in  Ireland.     See  Transmigration. 

Ratcliff,  Sir  Richard,  character  in  Richard  III.,  first  appears 
in  ii.  2,  an  adherent  and  confidant  of  Richard.     See  Catesby. 

Raught  (reached),  Love's  Labour'' s  Lost,  iv.  2  ;  Antony  and  Cle- 
opatra, iv.  9. 

Raven(s),  feathers  of,  used  in  witchcraft.  The  Tempest,  i.  2; 
young,  must  be  fed.  Merry  Wives  of  Wi7idsor,  i.  3 ;  chides  black- 
ness, Troilus  arid  Cressida,  ii.  3  ;  allusion  to  the  notion  that  they 
desert  their  young  on  account  of  their  ugliness,  Titus  Andfvnicus, 
ii.  3 ;  foresee  death,  Julius  Cmsar,  v.  1 ;  ominous,  Macbeth,  i.  5  ; 
Titus  Andronicus,  ii.  3;  Hamlet,  Hi.  2;  o'er  the  infected  house. 
Othello,  iv.  1.  The  ill-omened  bird  was  thought  to  hang  over  houses 
where  the  plague  was.  This  is  also  referred  to  in  Much  Ado  about 
Nothing,  ii.  3. 

Ravenspurg,  or  Ravenspur,  Richard  II..  ii.  1,  end;  ii.  2,  3 ; 
I.  Henry  IV.,  i.  3.  It  was  a  port  at  the  mouth  of  the  Humber, 
gradually  destroyed  by  the  encroachments  of  the  sea,  until,  by  the 
middle  of  the  sixteenth  century,  it  had  entirely  disappeared. 

Ravings,  of  madness,  King  Lear,  Hi.  4. ;  iv.  6. 

Razed  (a  word  applied  to  the  damage  done  by  a  boar),  Richard 
TIL,  Hi.  2. 

Razes  (roots),  I.  Henry  IV.,  ii.  1. 

Readiness,  Henry  V.,  iv.  3,  "  Ail  things  are  ready,  if  our  minds 
be  so." 

Reading,  how  well  he's  read,  to  reason  against,  Love's  Labour's 
Lost,  i.  1. 

Reapers,  dance  with  nymphs.  The  Tempest,  iv.  L 

Rearmice.     See  Reremice.  « 

Reason,  nobler.  The  Tempest,  v.  1;  and  rhyme,  Two  Gentlemen 
of  Verona,  H.  1;  Love's  physician,  Merry  Wives  of   Wi?idsor,  H.  1; 


INDEX  TO  SHAKSPERE'S   WORKS.  297 

Sonnet  cxlvii.;  "dares  her  no."  or  "dares  her  on,"  Pleasure  fur 
Measwe,  iv.  4.  The  first  reading  would  mean,  bids  her  not  to  de- 
nounce me.  The  second  would  mean,  my  reason  dares  her  to  go  on 
and  do  it,  since  she  will  not  be  believed.  In  madness,  Measure  for 
Measwe,  v.  1;  keeps  little  company  with  love,  Midsummer- N igl iV & 
Bream,  Hi.  1;  a,  grand- jury  man,  Tivelfth  Night,  Hi,  1;  and  respect, 
not  for  manhood  and  honour,  Troilus  and  Cressida,  ii.  S ;  the  re- 
ceipt of,  Macbeth,  i.  7 ;  dethroned,  Hamlet,  Hi.  1;  what  we  are 
without,  Hamlet,  iv.  4  ;  sent  after  the  thing  it  loves,  Hamlet,  iv.  5, 
"  Nature  is  fine  in  love,"  etc. ;  in  madness,  Kiyig  Lear,  iv.  6 ;  office 
of,  Othello,  i.  3. 

Reasons,  a  woman's.  Two  Gentlemen  of  Verona,  i.  2 ;  if,  as 
plenty  as  blackberries,  1.  Henry  IV.,  ii.  4  ;  good,  must  give  place  to 
better,  Julius  Ccesar,  iv.  3  ;  strong,  make  strong  actions,  King  John, 
Hi.  4 ;  larded  with,  Hamlet,  v.  4 ;  like  two  grains  of  wheat  in  two 
bushels  of  chaff,  Merchant  of  Venice,  i.  1. 

Rebeck,  name  of  a  musician  in  Romeo  and  Juliet,  iv.  4. 

Rebel(s),  evils  invoked  on,  Richard  II.,  Hi.  2 ;  suspicion  of  par- 
doned, II.  Henry  IV.,  iv.  1;  called  on  to  repent,  /.  Henry  VI.,  Hi. 
3  ;  worthy  to  be  a,  Macbeth,  i.  2. 

Rebellion,  untread  the  way  of.  King  John,  v.  4;  of  Boling- 
broke,  i?<'c A  a r<i  //.,  ii.  1-3  ;  Hi.  3  ;  dilficulty  of  managing,  /.  Henry 
IV.,  iv.  1,  Worcester's  speech ;  offer  of  pardon  for,  I.  Henry  IV.,  iv. 
3 ;  V.  1 ;  colour  to  face  the  garment  of,  /.  Henry  IV.,  v.  1 ;  never 
forgiven,  I.  He?iry  IV.,  v.  2 ;  ever  rebuked,  I.  Henry  IV.,  v.  5 ;  ill- 
luck  of — effect  of  the  word  on  troops — turned  to  religion,  II.  Henry 
IV.,  i.  1;  reasons  for,  //.  Henry  IV.,  iv.  1;  Jack  Cade's,  II.  Henry 
VI.,  iv.  2-6 ;  of  workingmen,  Henry  VIIL,  i.  2 ;  of  the  plebeians, 
Coriolanus,  i.  1 ;  general,  Coriolanus,  iv:  6. 

Rebukes,  improved,  3Ieasure  for  Measure,  iv.  6 ;  Much  Ado 
about  Notliing,  ii.  3 ;  sensitiveness  to,  CymbeHne,  Hi.  5,  "Forbear 
sharp  speeches,"  etc. 

Recheat,  Much  Ado  about  Nothing,  i.  1.  A  hunting  term, 
meaning  a  call  sounded  on  the  horn  to  bring  back  the  dogs  from  a 
wrong  scent. 

Recklessness,  caused  by  the  world's  treatment,  Macbeth,  Hi.  1. 

Reckoning,  fit  for  a  tapster.  Love's  Labour's  Lost,  i.  2 ;  a  pity 
to  get  a  living  by.  Love's  Labour's  Lost,  v.  2. 

Reconciliation,  of  enemies,  Richard  II.,  i.  1;  Richard  III, 
■  H.  1 ;  of  kings,  A  Winter's  Tale,  v.  2. 

Recreation,  m«Mancholy  from  want  of.  Comedy  of  Errors,  v,  1. 


298  INDEX  TO  SHAKSPERE'S   WORKS, 

Recruits,  Palstaflf's,  11.  Henry  IV.,  in.  2. 

Recure  (recover),  Richard  III.,  iii.  7. 

Rede  (teaching  or  counsel),  recks  not  his  own,  Hamlet,  i.  3. 

Redemption,  by  Christ,  Measure  for  Measure,  li.  2. 

Redime  te  captum,  etc.,  Taming  of  the  Shrew,  i.  1.  Redeem 
thyself,  captive,  for  as  little  as  thou  canst ;  quoted  from  Terence  as 
in  Lilly's  "  Latin  Grammar." 

Red-lattice  phrases,  Merry  Wives  of  Windsor,  ii.  2.  Ale- 
houses had  red  lattices. 

Reeds,  eaves  of.  The  Tempest,  v.  1.    Reeds  were  used  for  thatch. 

Refelled  (refuted),  3Ieasure  for  Measure,  v.  1. 

Refinement,  affected.  Twelfth  Night,  ii.  5 ;  Hamlet,  v.  1. 

Reflection,  Henry  Y.,  iv.  1,  "  I  and  my  bosom  must  debate 
awhile." 

Reform,  in  character,  patching.  Twelfth  Night,  i.  5  ;  unexpected, 
I.  Henry  IV.,  i.  2,  end  ;  Henry  V.,  i.  1 ;  in  the  state,  //.  Henry  VI., 
ii.  2. 

Regan,  one  of  the  daughters  of  King  Lear,  introduced  in  the 
first  scene.  Her  professions  of  filial  love,  i.  1;  treatment  of  her 
father,  ii.  4;  she  becomes  a  widow,  iv.  2 ;  betroths  herself  to  Ed- 
mund, iv.  5  ;  V.  1 ;  is  poisoned  by  her  sister,  v.  3,    See  Goneril. 

Regicide,  A  Winter's  Tale,  i.  2 ;  Richard  II.,  v.  6 ;  Macbeth, 
I.  7. 

Regiment  (authority),  A?itony  and  Cleopatra,  iii.  6. 

Regreets  (greetings),  3Ierchant  of  Venice,  ii.  9;  King  John, 
iii.  1. 

Regret,  uselessness  of.  Macbeth,  iii.  2,  "  Things  without  reme- 
dy," etc.;  Othello,  i.  3,  "When  remedies  are  past,"  etc.;  for  the 
dead,  Antony  and  Cleopatra,  i.  2. 

Reguerdon  (reward),  I.  Henry  VI.,  iii.  1. 

Reignier  (Rene),  Duke  of  Lorraine  and  Anjou,  and  titular  King 
of  Naples,  Sicily,  and  Jerusalem,  father  of  Margaret,  queen  to  Henry 
VI.,  character  in  I.  Henry  VI.,  first  appears  in  *.  1.  Suffolk  speaks 
of  his  titles  and  influence  in  v.  5  ;  York  taunts  his  daughter  with  his 
high-sounding  titles  and  poverty  in  the  third  part,  i.  4,  and  Richard 
in  ii.  2.  At  the  close  of  the  third  part  he  is  said  to  have  pawned 
Sicily  and  Jerusalem  to  ransom  his  daughter. 

Relationship,  Macbeth,  ii.  3,  "  The  near  in  blood,"  etc. ;  Ham- 
let, i.  2,  "  A  little  more  than  kin  and  less  than  kind."  See  Blood, 
Kinship. 

Religion,  every  error  in,  approved,  Merchant  of  Venice,  iii.  2; 


INDEX  TO  SHAKSPERE'S  WORKS,  299 

fickleness  in,  Much  Ado  ahout  Nothing,  i.  1 ;  pretense  of,  Richard 
111.,  Hi.  7.    See  Hypocrisy,  Quotation. 

Remediate  (remedial),  King  Lear,  iv.  4. 

Remedies,  lie  in  ourselves,  AlVs  Well  that  Ends  Well,  i.  1; 
heroic,  for  the  state,  Coriolanus,  Hi.  1 ;  things  without  remedy 
should  be  without  regard,  Macbeth,  Hi  2. 

Remem.ber  (remind),  The  Tempest,  i.  2. 

Reinem.brance,  burdened  with  heaviness  that's  gone.  The  Tem- 
pest, V.  i;  of  a  widow,  II.  Henry  IV.,  ii.  3 ;  of  the  valiant  dead, 
Henry  V.,  i.  2 ;  sworn,  Hamlet,  i.  5 ;  of  things  precious,  Macbeth, 
iv.  3  ;  summoned.  Sonnet  xxx. 

Remonstrance,  King  Lear,  i.  1 ;  A  Winter's  Tale,  ii.  2. 

Remorse,  Much  Ado  about  Nothing,  iv.  1;  King  John,  iv.  2 ; 
Richard  II.,  v.  5,  end ;  Richard  III,  ii.  1;  v.  3 ;  Macbeth,  Hi,  2, 
4;  v.  1 ;  Hamlet,  i.  5 ;  King  Lear,  i.  4,  "0  most  small  fault,"  etc. ; 
Othello,  iv.  6,  9;  Antony  and  Cleopatra,  iv.  6,  9 ;  Cymbeline,  v.  1; 
Lucrece,  lines  708,  730 ;  A  Winter's  Tale,  Hi.  2. 

Remorse  (pity),  Measure  for  Measure,  v.  1 ;  II.  Henry  VI.,  iv.  1  ; 
Merchant  of  Venice  iv.  1,  and  elsewhere. 

Remotion  (remoteness),  Timon  of  Athens,  iv.  3  ;  King  Lear,  ii.  4. 

Remuneration,  the  Latin  for  three  farthings.  Love's  Labour's 
Lost,  Hi.  1. 

Render  (describe),  As  You  Like  It,  iv.  3. 

Rene,  King.    See  Reignier. 

Reneag,  or  renege  (deny,  renounce),  King  Lear,  u.  2 ;  Antony 
and  Cleopatra,  i.  1.     A  word  akin  to  renegade. 

Renown.     See  Fame,  Glory. 

Renunciation,  easy.  Lover's  Complaint,  I.  239. 

Repentance,  he  who  is  not  satisfied  by,  Two  Gentlemen  of  Ve- 
rona, V.  4 ;  toward  heaven,  Measure  for  Measure,  ii.  3 ;  of  Oliver, 
As  You  Like  It,  iv.  3 ;  of  a  usurper,  As  You  Like  It,  v.  4 ;  for- 
bidden, A  Winter's  Tale,  Hi,  2,  "  But  0  thou  tyrant,"  etc. ;  of  a 
tyrant,  A  Winters  Tale,  Hi.  2,  end ;  v.  1;  proposed,  /.  Henry  IV., 
A>.  2  ;  Hi.  3 ;  v.  2,  5 ;  leisure  for,  Richard  III,  iv.  4;  without  resti- 
tution, Hamlet,  Hi.  3;  before  death.  Cymbeline,  v.  4,  "My  con- 
science," etc. ;  of  Enobarbus,  Antony  and  Cleopatra,  iv.  9  ;  to  patch 
up  this  old  body  for  heaven,  II.  Henry  1 V.,  H.  4;  if  my  wind  were 
but  long  enough  to  say  my  prayers,  I  would  repent.  Merry  Wives  of 
Windsor,  iv.  5. 

Reply  churlish,  the.    See  Duelling. 

Reports,  false,  //.  Henry  1 V.,  induction,  i.  1, 


300  INDEX  TO  SHAKSFEliE'S   WORKS, 

Repose,  times  for,  Henry  VIII.,  v.  1 ;  foster-nurse  of  Nature, 
King  Lear,  iv.  4. ;  from  travel,  Sonnet  xxvii. 

Representative,  character  of  a,  Troilus  and  Cressida,  i.  3. 

Reprisals,  ///.  Henry  VI. ,  ii.  2,  "  To  whom  do  lions,''  etc. 

Reproof  (rebuttal),  1.  Henry  IV.,  i.  2 ;  valiant,  the,  see  Duel- 
ling; Hamlet's,  of  his  mother,  Hamlet,  iii.  4;  for  fickleness, /iT^^ic/ 
John,  Hi.  1 ;  ill-timed,  Tlie  Tempest,  ii.  1. 

Repugn  (resist),  /.  Henry  VI.,  iv.  1. 

Reputation,  the  bubble,  As  You  Like  It,  ii.  7 ;  value  of,  Rich- 
ard II.,  i.  1 ;  Othello,  Hi.  1,  S  ;  the  immortal  part,  Othello,  ii.  8  ;  mis- 
taken, Sonnet  cxxi.     See  also  Name. 

Rere-mice  (bats).  Midsummer- N ighf  s  Dream,  ii.  2.  The  first 
part  of  the  compound  is  from  the  Anglo-Saxon  hreran,  to  stir,  to 
flutter.     The  word  is,  therefore,  equivalent  to  flitter-mouse. 

Reserve,  effects  of,  /.  Henry  IV.,  Hi.  2. 

Resignation,  to  the  will  of  Heaven,  Richard  II.,  v.  2;  to  appar 
ent  evils,  Henry  V.,  iv.  1,  ''  There  is  some  soul  of  goodness,"  etc. ;  to 
the  inevitable.  Antony  and  Cleopatra,  Hi.  6  ;  to  death,  3Ierc^ia7it  of 
Venice,  iv.  1. 

Resolution,  in  spite  of  one  repulse,  The  Tempest,  Hi.  3 ;  sud- 
den. Two  Gentlemen  of  Verona,  i.  3 ;  should  not  be  quenched  with 
hope.  Measure  for  Measure,  Hi.  1 ;  dauntless  spirit  of.  King  John, 
V.  1 ;  the  native  hue  of,  sicklied  o'er  with  the  pale  cast  of  thought, 
Hamlet.  Hi.  1 ;  placed,  Antony  and  Cleopatra,  v.  2.  See  Determina- 
tion, Will. 

Resolved  (assured),  I.  Henry  VI.,  Hi.  4. 

Respect,  too  much,  upon  the  world.  Merchant  of  Venice,  i.  1. 

Respect  (circumspection),  takes  away  valour,  Troilus  and  Cres- 
sida, ii.  2. 

Rest,  to  set  up  one's.  Comedy  of  Errors,  iv.  3 ;  AlVs  Well  that 
Ends  Well,  ii.  1,  and  elsewhere.  To  resolve  upon,  to  lay  a  wager 
upon. 

Restraint,  result  of  excess.  Measure  for  3Ieasure,  i.  3. 

Results,  great,  from  insignificant  causes.  All's  Well  that  Ends 
Well,  H.  1. 

Resurrection,  the,  allusion  to,  3Iuch  Ado  about  Nothing,  v.  3, 
song,  "  Till  death  be  uttered." 

Retire  (a  retreat),  I.  Henry  IV.,  ii.  3. 

Retirement,  from  towns,  Two  Gentlemen  of  Verona,  v.  4  >'  f roni 
court  life,  As  You  Like  It,  ii.  1 ;  Hi.  2  ;  in  old  age,  /.  Henry  I V,  v. 
1;  King  Lear,  i.  1. 


INDEX  TO  SHAKSPERE'S    WORKS.  301 

Retort  (reject),  Jleasure  for  Jleasicre,  v.  1. 

Retort  courteous,  the.    See  Duelling. 

Retreat,  of  Hotspur's  soldiers,  II.  Henry  I V.,  i.  1 ;  a,  Corio- 
lanus,  i.  If.. 

Retribution,  certainty  of,  on  earth,  Ilacheth,  i.  7 ;  Richard 
III,  a.  1 ;  iv.  4,'  '^''  4>   Timon  of  Athens,  v.  5. 

Retrospection,  Sonnet  xxx. 

Revel(s),  a,  Hamlet,  i.  4  ;  Timon  of  Athens,  ii.  2. 

Revenge,  schemes  of,  Merry  Wives  of  Windsor,  i.  3 ;  ii.  1; 
spirit  of,  overcome  by  kindness,  As  You  Like  It,  iv.  3  ;  of  the  Per- 
cys, L  Henry  lY.,  i.  3 ;  Clifford's,  III.  Henry  YI,  i.  3,  4;  ii.  3  ; 
Warwick's,  ///.  Henry  YI,  ii.  3  ;  on  one  that  loves,  Richard  III, 
i.  2 ;  deaf  to  reason,  Troilus  and  Cressida,  ii.  2;  Tamora  in  the 
guise  of,  Titus  Andronicus,  v.  1 ;  against  country,  Coriolanus,  iv.  6  ; 
Cffisar's  spirit,  ranging  for,  Julius  Ccesar,  Hi.  1 ;  threats  of.  King 
Lear,  ii.  4,  last  part ;  taken  during  prayer,  incomplete,  Hamlet,  Hi. 
3 ;  should  have  no  bounds,  Hamlet,  iv.  7 ;  vows  of,  Hamlet,  iv.  5 ; 
Macbeth,  iv.  3 ;  Othello,  Hi.  3,  end ;  v.  2 ;  suggestion  of,  Cymbeline, 
i.  6  ;  the  humility  of  Christians,  Merchant  of  Yenice,  Hi.  1, 

Revenges,  of  Time,  Twelfth  Night,  v.  1. 

Revenue,  farming  the.  Richard  II. ,  i.  4. 

Re  verbs  (reverberates),  King  Lear,  i.  1. 

Reverence,  angel  of  the  world,  Cymheline,  iv.  2, 

Reverses.     See  Adversity,  Fortune,  Misfortune. 

Revolt  (desert),  II.  Henry  YI,  iv.  2.  ■ 

Revolts,  against  Duncan,  3Iacbeth,  ii.  2 ;  minutely,  Macbeth, 
v.  1 ;  of  the  plebs,  see  Plebeians.     See  also  Rebellion. 

Revolution,  spirit  of,  Antony  and  Cleopatra,  i.  3 ;  how  it  must 
be  dealt  with.  King  John,  v.  2. 

Reward,  too  slow  for  merit,  Macbeth,  i.  4. 

Reynaldo,  servant  of  Polonius,  appears  in  ii.  1  of  Hamlet. 

Rhesus,  III.  Henry  YI,  iv.  2.  Ulysses  and  Diomedes  broke 
into  his  tent  and  stole  his  white  steeds,  because  of  a  prophecy  that 
Troy  could  never  be  taken  if  once  they  drank  from  the  Xanthus. 

Rhetoric,  sweet  smoke  of.  Love's  Labour's  Lost,  Hi.  1. 

Rhinoceros,  the  armed,  Macbeth,  Hi.  4. 

Rhodope,  /.  Henry  YI,  i.  5  or  6.  A  celebrated  courtesan, 
erroneously  said  to  have  built  the  smallest  and  finest  of  the  pyra- 
mids at  Memphis. 

Rhyme,  and  reason,  Two   Ge7itleme7i  of  Yerona.  ii.  1;  Love's, 
Labour's  Lost,  i.  1 ;  neither,  nor  reason.  Comedy  of  Errors,  ii.  2  ; 
20 


302  INDEX  TO  SHAKSFEEES    WuRRS. 

one,  like  a  butter-woman's  jog  (rank)  to  market,  As  You  Like  It,  tiV„ 
2 ;  love  in,  Sonnets  xxxii.,  xxxviii. 

Rhymes,  a  lover's,  3Iidsummer-Nighfs  Dream,  i.  1;  As  You 
Like  It,  Hi.  2 ;  iv.  3. 

Rhymmg,  taught  by  love,  Love's  Labour's  Lost,  iv.  3. 

S-hyming  planet,  born  under  a.  3Iuch  Ado  about  Nothing, 
v..  2, 

Rhys-ap-Thomas.     See  Rice-ap-Thomas. 

Rialto,  the,  Merchant  of  Venice,  i.  3  ;  Hi.  1.  The  Ponte  di  Ri- 
alto,  or  bridge  of  the  Rialto,  over  the  Grand  Canal  at  Venice,  was 
used  as  an  exchange. 

Ribaudred,  or  ribaldred  (ribald),  Antony  and  Cleopatra,  Hi.  S 
or  10. 

Rice-ap-Tlionias  (or  Rhys),  Richard  III.,  iv.  5.  He  brought 
re-enforcements  for  Richmond  to  Bosworth  Field. 

Ricii,  and  poor,  the,  fable  goncerning,  Coriolanus,  i.  1. 

mchard,  Kings  II.  and  111.,  dramas  of.  See  King  Richard  II. 
and  King  Richard  IIL 

Richard,  Duke  of  York,  son  of  Edward  IV.,  character  in  Rich- 
ard IIL,  first  appears  in  ii.  4.  See  Edward  V.  and  Princes  in  the 
Tower. 

Richard  I.  {Coeur  de  Lion),  King  of  England  from  1189  to  1199, 
King  John,  i.  1 ;  ii.  1. 

Richard  II.,  eighth  king  of  the  house  of  Plantagenet,  born 
1366,  died  1400.  He  was  the  son  of  Edward  the  Black  Prince,  and 
succeeded  his  grandfather,  Edward  III.,  in  1377,  at  the  age  of  eleven. 
He  is  introduced  in  the  first  scene  of  the  play  that  bears  his  name, 
where  two  nobles  bring  their  quarrel  before  him,  and  where  is  pre- 
sented "  the  germ  of  all  the  after-events  in  his  insincerity,  partiality, 
arbitrariness,  and  favouritism,  and  in  the  proud,  tempestuous  tem- 
perament of  his  barons."  In  iv.  1,  he  resigns  the  crown  and  is  sent 
to  the  Tower ;  in  v.  2,  he  is  killed  by  Exton.  In  person  Richard  is 
represented  as  very  handsome,  having  a  fair,  delicate,  and  feminine 
style  of  beauty ;  in  character  he  was  weak,  with  an  overweening  con- 
fidence in  his  divine  right  and  the  respect  of  his  subjects  for  it.  He* 
is  given  to  indirect  methods  and  dissimulation,  is  easily  depressed 
and  easily  excited  with  hope  and  confidence.  At  the  same  time  the 
reader's  sympathy  is  aroused  by  his  amiability  and  by  liis  misfor- 
tunes. But  in  his  weakness  he  had  spent  his  revenues  foolishly,  and 
consequently  had  resorted  to  extortionate  taxes,  and  even  confisca- 
tion.    Allusions  to  him  in  other  plays:  his  unkingly  conduct,  I. 


INDEX   TO  SHAKSPERE'S    WORKS.  303 

Henry  IV.,  iii.  ,?;  prophecy  by  him,  //.  Henry  IV.,  Hi.  1 ;  j)eni- 
teiice  for  his  dethronement  and  murder,  Henry  V.,  w.  1. 

Richard  III.  (1450-1485),  character  in  the  second  and  third 
parts  of  Henry  YI.,  under  the  names  of  Richard  Plantagenet  and 
Puke  of  Gloucester.  In  II.  Henry  VL  he  is  introduced  in  v.  1,  and 
in  III.  Henry  VI.  in  i.  1.  His  courage,  i.  4  ',  liis  purpose  to  gain 
the  crown.  Hi.  2 ;  iv.  1 ;  his  deformity,  iii.  2.  In  v,  5  he  stabs  the 
prince,  and  offers  to  kill  Margaret ;  and  in  v.  6  stabs  King  Henry. 
The  play  that  bears  his  name  begins  with  a  soliloquy,  in  which  he 
declares  his  designs;  his  name  presented  to  the  citizens  and  the 
crown  offered  to  him,  iii.  7.  He  enters  crowned  in  iv.  2,  and  orders 
the  murder  of  the  princes ;  is  reproached  by  their  mother  and  de- 
nounced by  his,  iv.  4,'  his  courage  at  Bosworth,  v.  4;  his  death,  v.  5. 

"  There  is  something  sublime  and  terrible  in  so  great  and  fierce 
a  human  energy  as  that  of  Ei(!hard  concentrated  within  one  with- 
ered and  distorted  body.  This  is  the  evil  offspring  and  flower  of  the 
long  and  cruel  civil  wars — this  distorted  creature,  a  hater  and  scorner 
of  man,  an  absolute  cynic,  loveless  and  alone,  disregarding  all  human 
bonds  and  human  affections,  yet  full  of  intellect,  of  fire,  of  power."' 

— DOWDEN. 

Riches.     See  Gold,  Money,  Wealth. 

Richinond,  Margaret,  Countess  of,  Richard  III,  i.  3,  She  was 
the  mother  of  Henry  VII.     Stanley  was  her  third  husband. 

Richmond,  Henry  Tudor,  Earl  of  (145G-1509),  afterward  Henry 
VII.,  character  in  III.  Henry  VI,  introduced  in  iv.  6,  where  the 
king,  whose  half-brother  he  was,  utters  a  prophecy  concerning  him, 
and  in  the  same  scene  it  is  resolved  to  send  him  to  Brittany.  He 
appears  again  in  Richard  III,  as  the  head  of  the  Lancastrian  party. 
In  iv.  8  he  is  called  a  Breton,  from  his  residence  in  Brittany.  He  is 
spoken  of  in  iv.  4  as  being  in  Wales,  first  appears  in  v.  2,  and  is 
made  king  in  v.  5.  He  is  represented  in  the  play  as  pious  and  con- 
scientious. By  his  marriage  with  the  daughter  of  Edward  IV.,  he 
united  the  claims  of  the  houses  of  York  and  Lancaster. 

Riddance,  from  a  knave.  Much  Ado  ahout  Nothing,  iii.  3. 

Riddles,  Hull's,  Love's  Labour'' s  Lost,  iv.  2 ;  one  proposed  to 
suitors,  Pericles,  i.,  prologue  ;  book  of.  Merry  Wives  of  Windsor,  i.  1. 

Ridicule,  one  must  seem  senseless  of,  As  You  Like  It,  ii.  7  ;  in- 
difference to.  Much  Ado  about  Nothing,  ii.  3 ;  of  the  Greek  gener- 
als, Troilus  and  Oressida,  i.  3. 

Right,  to  do  a  great,  do  a  little  wrong,  Merchant  of  Venice,  iv. 
1;  o'ercoming  might,  II.  Henry  IV.,  v.  4;    warring  with  right, 


304  INDEX  TO  SHAKSPERE'S  WORKS. 

Rigol  (circle),  //.  Hanry  IV.,  iv.  4;  Lucrece,  I.  1745. 

Rim  (entrails),  Henry  V.,  iv.  4. 

Rinaldo,  steward  to  the  Countess  of  Rousillon  in  All's  Well  that 
Ends  Well,  introduced  in  i.  3. 

Iling(s),  excliange  of,  Two  Gentlemen  of  Verona,  ii.  2 ;  refused, 
Two  Oentlemen  of  Verona,  iv.  4 ;  Shylock's  turquoise,  Merchant  of 
Venice,  Hi.  1 ;  Portia's,  Merchant  of  Venice,  Hi.  2 ;  iv.  1,  2 ;  v.  1 ; 
with  death's-heads  in,  Love's  Labour'' s  Lost,  v.  2  ;  proverbial  phrases 
on,  Merchant  of  Venice,  v.  1 ;  As  You  Like  It,  Hi.  2 ;  Hamlet,  Hi. 
2,  "  The  posy  of  a  ring ; "  an  old,  AlVs  Well  that  Ends  Well,  Hi.  2, 
7 ;  iv.  2 ;  v.  3 ;  exchange  of,  at  marriage,  Twelfth  Night,  v.  1; 
thumb,  I.Henry  IV,  ii.4;  engagement,  i^ic^arc?  ///.,  i.  2;  the 
king's,  an  emblem  of  his  authority,  Henry  VIII,  v.  1,  3 ;  one  shin- 
ing by  its  own  light,  Titus  Andronicus,  H.  3  or  4;  of  Posthumus, 
Cyinheline,  i.  1 ;  H.  4;  v.  5. 

Ringlets,  the  green,  sour.  The  Tempest,  v.  1.  A  fungous  growth 
that  was  supposed  to  be  made  by  dancing  fairies. 

Ringwood,  Merry  Wives  of  Windsor,  H.  L  A  common  name 
for  a  dog. 

Riot,  a.  Merry  Wives  of  Windsor,  i.  1. 

Risk,  of  everything  on  one  cast,  /.  Henry  IV.,  iv.  1. 

Rivage  (bank,  shore),  Henry  V.,  Hi.,  chorus. 

Rivality  (equality),  Antony  and  Cleopatra,  Hi.  5. 

Rivalry,  necessary,  of  Antony  and  Caesar,  Antony  and  Cleopatra, 
V.  L 

Rivals,  in  love,  quarrels  of.  Two  Oentlemen  of  Verona,  ii.  4* 

Rivals  (associates),  Hamlet,  i.  1. 

Rive  (to  fire),  /.  Henry  VI.,  iv.  2. 

Rivers,  flowery  banks  of,  The  Tempest,  iv.  1;  drown  their 
shores,  Richard  II,  Hi.  2. 

Rivers,  Anthony  Woodville,  Earl,  character  in  ///.  Henry  VI., 
introduced  in  iv.  4,  and  in  Richard  HI,  introduced  in  i.  3.  He 
was  a  son  of  the  Woodville,  lieutenant  of  the  Tower,  in  I.  Henry 
VI,  and  brother  of  Elizabeth,  Lady  Grey,  who  became  the  wife  of 
Edward  IV.  His  marriage  with  a  rich  heiress,  daughter  of  Lord 
Scales,  is  spoken  of  in  iv.  1  of  the  former  play,  where  Gloucester 
upbraids  Edward  IV,  with  having  given  her  to  his  wife's  brother 
rather  than  to  one  of  his  own.  He  was  seized  by  Richard's  orders 
and  beheaded  at  Pontefract  (1483),  Richard  HI,  Hi.  3 ;  his  ghost 
appears  to  Richard,  v.  3.  Lord  Rivers  translated  from  the  French 
the  second  book  printed  in  England  by  Caxton,  "  Dictes  and  Saye- 


INDEX  TO  SHAKSPERE'S   WORKS.  305 

ings  of  the  Philosophers."  He  made  other  translations,  and  also 
*'  Divers  Balades  ayenst  the  Seven  Dedely  Synnes." 

Rivo,  1.  Renry  IV.,  ii.  4.  A  Bacchanalian  exclamation,  mean- 
ing unknown. 

Roan.     See  Rouen. 

Roaring",  an  extempore  part,  Midsummer-Nigh fs  Dream,  i.  2 ; 
of  lions,  The  Tempest,  ii.  1. 

Roast,  rules  the,  //.  Henry  VI.,  i.  1. 

Robbery,  if  unknown  to  the  robbed,  Othello,  Hi.  3 ;  of  reputa- 
tion, Othello,  Hi.  3  ;  in  behalf  of  charity,  Troilus  and  Cressida,  v.  3. 

Robin,  Falstaff's  page,  Merry  Wives  of  Windsor,  i.  3. 

Robin  Goodfellow.     See  Puck. 

Robin  Hood.     See  Hood. 

Robin  Redbreast  (ruddock),  allusion  to  the  notion  that  he  cov- 
ers the  dead,  Oymheline,  iv.  2. 

Rochester,  scene  of  a  part  of  /.  Renry  IV.  It  is  twenty-eight 
miles  southeast  of  London. 

Rod,  the,  more  mocked  than  feared,  Measure  for  Measure,  i.  4. 

Roderigo,  a  Venetian  gentleman,  character  in  Othello,  intro- 
duced in  i.  1.  He  is  in  love  with  Desdemona,  and  is  made  a  dupe 
by  lago.     His  encounter  with  Cassio,  v.  1. 

"Without  any  fixed  principle,  but  not  without  the  moral  no- 
tions and  sympathies  with  honour  which  his  rank  and  connections 
had  hung  upon  him,  is  already  well  fitted  and  predisposed  for  the 
purpose :  for  every  want  of  character  and  strength  of  passion,  like 
wind  loudest  in  an  empty  house,  constitute  his  character." — Cole- 
ridge. 

Rogero,  a  gentleman  at  the  palace,  A  Winter''s  Tale,  v.  2. 

Rolands,  T.  Renry  VI.,  i.  2.  Roland  was  one  of  Charlemagne's 
twelve  peers. 

Romage  (rummage,  overturning),  Hamlet,  i.  1. 

Ronian(s),  degenerate,  Julius  Ccesar,  i.  3 ;  promises  of,  Julius 
CcBsar,  ii.  1 ;  such  a,  Julius  Ccesar,  iv.  3 ;  the  noblest,  Julius  Ccesar, 
V.  5 ;  the  injurious,  Cymheline,  Hi.  1. 

Roman  fool,  play  the  (Cato  of  Utica?).  3Iacbeth,  v.  5. 

Romano,  Giulio,  a  painter  of  the  sixteenth  century,  spoken  of 
as  a  sculptor  in  A  Winter's  Tale,  v.  2. 

Roman  thought,  a,  hath  struck  him,  Antony  and  Cleopatra, 
i.2. 

Rome,  scene  of  parts  of  Titus  Andronicus.  Antony  and  Cleo- 
palra,  Coriolanus,  Julius  Ccesar,  and  Cymheline  ;  her  knowledge  of 


306  INDEX  TO  SHAKSPEEE'S  WORKS. 

her  neighbours,  Coriolanus,  i.  2 ;  attacked,  Coriolanus,  iv.  6 ;  dis- 
sensions in,  ^.  1;  Hi.  1-3 ;  iv.  2,  3 ;  gratitude  of,  Coriolanus,  Hi.  i, 
"Now  the  good  gods,"  etc.;  ingratitude  of — a  wilderness  of  tigei's. 
Titus  Andronicus,  Hi.  1;  degenerate,  Julius  CcBsar,  i.  2 ;  loved 
more,  Julius  Ccesar,  Hi.  2. 

Rome  (papal),  curse  of,  King  John,  Hi.  1 ;  dictation  of,  King 
John,  V.  2 ;  tricks  of,  Henry  VIII.,  ii.  4,  end. 

Romeo,  hero  of  Romeo  and  Juliet,  first  appears  in  i.  1.  He  is  in 
love  with  Rosaline,  Capulet's  niece ;  goes  to  Capulet's  feast,  i.  5 ;  in 
Capulet's  garden,  ii.  2 ;  marries  Juliet,  ii.  6 ;  slays  Tybalt,  and  is 
banished.  Hi.  1 ;  in  Mantua,  v.  1 ;  slays  Paris  and  dies,  v.  3.  See 
Rosaline. 

"  The  wise  Friar  Laurence  perceived  that  '  affliction  was  en- 
amoured' of  the  susceptible  qualities  of  this  deeply  agitated  and 
violent  nature,  and  that  he  was  '  wedded  to  calamity.'  .  .  .  Reserved, 
disdainful  of  advice,  melancholy,  laconic,  vague  and  subtle  in  his 
scanty  words,  he  shuns  the  light,  he  is  an  interpreter  of  dreams,  his 
disposition  is  foreboding,  and  his  nature  pregnant  with  fate." — 
Gervinus. 

Rom.eo  and  Juliet  was  first  published  in  1597,  but  the  version 
then  printed  is  supposed  to  have  been  rewritten  from  an  earlier  one, 
dating  as  far  back  as  1591.  The  story  is  very  old.  Some  of  the 
chief  incidents  appeared  in  a  Greek  romance  by  Xenophon  of  Ephe- 
sus.  It  was  first  told  in  Italian  by  Luigi  da  Porto,  of  Vincenza,  who 
died  in  1529.  His  novel  was  published  six  years  after  his  death.  It 
was  told  again  by  Bandello.  in  1554,  and  from  him  translated  into 
French  by  Boisteau.  William  Paynter  translated  the  French  ver- 
sion into  English  for  his  "  Palace  of  Pleasure,"  1567.  But  the  story 
had  previously  appeared  in  English  verse  by  Arthur  Brooke,  1562. 
Shakspere  no  doubt  used  both  Paynter  and  Brooke  in  his  play,  but 
it  bears  a  closer  resemblance  to  Brooke's  poem,  which  has  consider- 
able merit,  than  to  the  other.  But  Brooke  speaks  in  his  preface  of 
having  seen  the  story  on  the  stage  not  long  before ;  so  that  there 
was  an  English  or  perhaps  Latin  play  to  which  Shakspere  and  he 
may  both  have  been  indebted.  The  time  is  early  in  the  fourteenth 
century ;  at  least  the  occurrence  on  which  it  is  founded  is  referred 
to  the  year  1303,  and  the  events  of  the  play  occupy  but  a  few  days. 

"  The  enmity  of  the  two  families  is  the  hinge  on  which  everything 
turns ;  very  appropriately,  therefore,"  the  representation  begins  with 
it.  The  spectator  must  have  seen  its  outbreaks  himself  in  order  to 
know  what  an  insuperable  obstacle  it  is  to  the  union  of  the  lovers. 
The  animosity  of  the  masters  has  rather  rude  representatives ;  we 


INDEX  TO  SHAKSPERE'S   WORKS.  307 

* 
see  liow  far  the  matter  must  have  gone  when  those  foolish  fellows 
cannot  meet  without  forthwith  falling  into  a  quarrel.  .  .  ,  The  rec- 
oiiciliation  of  the  heads  of  the  families  over  the  dead  bodies  of  their 
children,  the  only  drop  of  balm  left  for  the  torn  heart,  is  not  possi- 
ble except  through  their  being  informed  as  to  the  course  of  events. 
The  unhappiness  of  the  lovers  is  thus  not  wholly  in  vain ;  sprung 
out  of  the  hatred  with  which  the  piece  begins,  it  turns,  in  the  cycle 
of  events,  back  toward  its  source,  and  stops  it  up  forever." — Schlegel. 

B-onyon  (Fr.  rognon,  a  mangy  person),  Macbeth,  i.  3,  Rump- 
fed  ;  the  rumps  were  given  to  the  cooks. 

Rook,  the,  ominous,  Macbeth,  m.  ^. 

Rooked  (lodged).  III.  Henry  VI.,  v.  6. 

Room,  description  of  a,  Cymbeline,  ii.  Jf,. 

Rope-ladder,  Two  Gentlemen  of  Verona,  ii.  4;  Hi.  1. 

Rope-tricks,  Taming  of  the  Shrew,  i.  2.  Conjectured  to  be  a 
blunder  for  rhetoric. 

Rosalind,  the  heroine  of  As  You  Like  It,  first  appears  in  the 
second  scene, 

"  She  is  fresh  as  the  morning,  sweet  as  the  dew-awakened  blos- 
soms, and  light  as  the  breeze  that  plays  among  them.  She  is  as 
witty,  as  voluble,  as  sprightly  as  Beatrice,  but  in  a  style  altogether 
distinct  In  both  the  wit  is  equally  unconscious ;  but  in  Beatrice  it 
plays  about  us  like  the  lightning,  dazzling,  but  also  alarming;  while 
the  wit  of  Eosalind  bubbles  up  and  sparkles  like  the  living  fountain, 
refreshing  all  around.  Her  volubility  is  like  the  bird's  song ;  it  is 
the  outpouring  of  a  heart  filled  to  overflowing  with  life,  love,  and 
joy,  and  all  sweet  and  affectionate  impulses." — Mrs.  Jameson. 

Rosaline,  the  wittiest  of  the  ladies  attending  on  the  princess  in 
Love's  Labour'' s  Lost,  beloved  by  Berowne  or  Biron,  first  appears  in 
ii.  1.    She  is,  perhaps,  an  earlier  sketch  of  Beatrice, 

Rosaline,  the  first  fancy  of  Romeo,  spoken  of  by  him  and  his 
friends  in  the  earlier  part  of  the  play, 

"  This  "  [Romeo's  love  to  Rosalind]  "  has  been  to  many  a  stumbling- 
block,  and  Garriek  rejected  it  in  the  alteration  of  the  play.  To  me  it 
appears  indispensable  ;  it  is  like  the  overture  to  the  musical  sequence 
of  moments  which  all  unfold  themselves  out  of  that  first  when  Romeo 
beholds  Juliet.  Lyrically  taken,  though  not  in  respect  of  the  action 
(and  its  whole  charm  surely  rests  on  the  tender  enthusiasm  which  it 
breathes),  the  piece  would  be  imperfect  if  it  did  not  contain  within  itself 
the  rise  of  his  passion.  But  ought  we  to  see  him.  at  first  in  a  state  of 
indifference  I  How  is  his  first  appearance  exalted  through  this,  that, 
already  removed  from  the  circumstances  of  cold  reality,  he  walks  out 
the  consecrated  ground  of  fancy !  The  tender  solicitude  of  his  par- 
ents, his  restless  pinings,  his  determined  melancholy,  his  fanatical 
inclination  for  loneliness,  everything  in  him  announces  the  chosen 
one  and  the  victim  of  love.     His  youth  is  like  a  thunderous  day  in 


308  INDEX  TO  SHAKSPERE'S  WORKS. 

m 

Spring,  when  sultry  air  surrounds  tlio  loveliest,  most  voluptuous 
flowers.  Shall  his  quick  change  of  mind  deprive  him  of  sympathy  1 
or  do  we  not  argue  from  the  instantaneous  vanquishment  of  his  first 
inclination,  which  in  the  beginning  appeared  so  strong,  the  omnipo- 
tence of  the  new  impression  %  " — Schlegel. 

Roscius,  III.  Henry  VI.,  v.  6 ;  Hamlet,  ii.  2.  A  Roman  comic 
actor,  died  62  b.  c. 

Ilose(s),  a,  in  the  ear,  King  John,  i.  1.  Allusion  to  the  fashion 
of  wearing  a  flower  or  a  knot  of  ribbon  in  the  ear  or  the  hair  near 
it;  by  any  other  name,  Romeo  and  Juliet,  ii.  2 ;  against  the  blown, 
Antony  and  Cleopatra,  Hi.  11  or  13  ;  odours  of.  Sonnet  liv. ;  red  and 
white.  Sonnet  xcix. ;  at  Christmas,  Love's  Labour's  Lost,  i.l;  of  the 
fair  state,  Hamlet,  Hi.  L 

Rosemary,  A  Winter's  Tale,  iv.  S  or  4;  Romeo  and  Juliet,  ii, 
Jf. ;  iv.  5  ;  Hamlet,  iv.  5  ;  Pericles,  iv.  6.  It  was  thought  to  strengthen 
the  memory,  and  w^as  therefore  a  token  of  remembrance ;  was  used 
at  weddings  and  funerals,  and  to  garnish  dishes  at  feasts. 

Rosencrantz,  a  courtier  in  Hamlet,  introduced  in  ii.  2.  He 
and  Cruildenstern  w^re  schoolfellows  of  Hamlet,  Hi.  4-  He  calls 
them  "  adders  fanged,"  and  tells  Rosencrantz  in  iv.  2  that  he  is  a 
sponge,  soaking  up  the  king's  favour,  rewards,  and  authorities. 
They  carry  the  orders  concerning  Hamlet  to  England,  v.  2,  and  are 
themselves  sacrificed.  It  is  not  expressly  told  whether  the  two 
courtiers  knew  the  nature  of  the  order  they  carried ;  but  Hamlet's 
answer  to  Horatio,  v,  2,  "  They  did  make  love  to  this  employment," 
imjilies  that  they  did,  or  that  he  thinks  they  did. 

"  Though  directly  they  "  [Rosencrantz  and  Guildenstern]  "  take 
no  part  in  the  action,  they  are  nevertheless  willing,  for  the  sake  of 
their  personal  aggrandizcTnent  and  influence,  to  become  the  guilty 
instruments  of  another  criminal's  design.  This  subserviency,  how- 
ever, is  but  another  and  baser  form  of  thinking  and  acting  only  for 
self,  and  it  is  therefore  appropriately  punished,  not  by  the  might  of 
a  foreign  and  hostile  volition,  but  by  the  capricious  sport  of  trifling 
contingencies." — Ulrici, 

Roses,  the,  of  York  and  Lancaster,  /.  Henry  VI.,  ii.  4 ;  iv.  1 ; 
II.  Henry  VL,  i.  1 ;  losses  in  wars  of,  III  Henry  VI.,  v.  7 ;  battles 
of  the  Wars  of,  see  Battles. 

Ross,  Lord  William,  a  character  in  Richard  II.,  introduced  in 
ii.  3,  a  partisan  of  Bolingbroke,  who  made  him  lord  treasurer  after 
his  accession. 

Ross,  a  thane  of  Scotland,  character  in  Jlacbeth,  introduced  in 
i.  3.     The  title  properly  belonged  to  Macbeth,  to  whom  it  came  by 


INDEX   TO  SHAKSPERL'\S   WORKS.  309 

the  death  of  his  father,  as  that  of  Thane  of  Glamis  is  said  in  the  play 
to  have  done. 

Roted  (learned  by  rote),  Coriolanus,  iii.  2, 

Rother  (a  horned  beast),  Timon  of  Athens,  iv.  3. 

Rotherham,  Thomas,  Archbishop  of  York,  character  in  Eich- 
ard  III.,  first  appears  in  ii.  4.  He  was  kept  in  prison  for  a  time  by 
Richard. 

Rottenness,  in  Denmark,  Hamlet,  i.  4, 

Rouen  (then  pronounced  and  sometimes  spelled  Roan),  scene  of 
a  part  of  Henry  V. ;  taken  by  the  French  and  lost  again,  /.  Henry 
VL,  in.  2.     It  is  in  Normandy,  sixty-seven  miles  northwest  of  Paris. 

Rougemont,  Castle.    See  Exeter. 

Roundel  (a  dance),  Midsummer-NigM s  Bream,  ii.  3. 

Rounder  (circle).  King  John,  ii.  1. 

Rounding  (telling  a  secret  about  in  confidence),  A  Winter's 
Tale,  i.  2. 

Rouse,  a  cup  in  which  to  drink  a  health,  Hamlet,  i.  4  ',  Othello, 
ii.  3. 

Rousillon,  an  ancient  province  of  southern  France,  scene  of  a 
part  of  AlVs  Well  that  Ends  Well. 

Rousillon,  Count  of.    See  Bertram. 

Rousillon,  Countess  of,  a  character  in  AlVs  Well  that  Ends 
Well,  appearing  first  in  i.  1,  mother  of  the  young  count.  Just,  clear- 
sighted, and  affectionate,  she  does  not  allow  her  love  for  her  son  to 
blind  her  to  his  errors,  nor  do  her  pride  of  rank  and  dignity  of  sta- 
tion make  her  undervalue  the  merits  of  the  lowlier  Helena. 

"  But  the  whole  charm  and  beauty  of  the  play,  the  quality  which 
raises  it  to  the  rank  of  its  fellows,  by  making  it  lovable  as  well  as 
admirable,  we  find  only  in  the  '  sweet,  serene,  sky-like'  sanctity  and 
attraction  of  adorable  old  age,  made  more  than  ever  near  and  dear 
to  us  in  the  incomparable  figure  of  the  old  Countess  of  Rousillon." 
— Swinburne. 

Roussi,  a  French  noble,  mentioned,  Henry  V.,  iii.  5 ;  iv.  S. 

Rout,  description  of  a,  Oymheline,  v.  3. 

Rowland,  a  gentleman  mentioned  in  Measure  for  Pleasure,  iv.  5. 

Rowland,  Child,  King  Lear,  iii.  4.  A  fragment  of  an  old  bal- 
lad, a  part  only  of  which  has  been  recovered. 

Rowland  de  Boys,  Sir,  father  of  Oliver  and  Orlando  in  As  You 
Like  It,  mentioned  in  i.  1,  and  other  places  in  the  play. 

Royalty.     See  Crowxs,  Kings,  Princes. 

Roynish  (scurvy),  As  You  Like  It,  ii.  2. 


810  INDEX  TO  SHAKSPERE'S  WORKS. 

Rub,  there's  tlie,  Hamld,  Hi.  1. 

Ruddock  (redbreast),  the,  covers  the  dead,  Cymbeline,  iv.  2. 

Rudeness,  a  sauce  to  wit,  Julius  Ccesar,  i.  2. 

Rudesby  (rude  fellow).  Twelfth  Night,  iv.  1 ;  Taming  of  the 
Shrew,  Hi,  2. 

Rue,  A  Winter's  Tale,  iv.  3  or  4;  sour  herb  of  grace,  Richard 
11.,  Hi.  4 ;  Hamlet,  iv.  5. 

Ruff  (the  turned-over  top  of  the  boot),  AWs  Well  that  Ends  Well, 
Hi.  2. 

Ruffle  (make  disturbance),  Titus  Andronicus,  i.  1  or  2. 

Rugby,  a  servant  of  Dr.  Caius  in  the  Merry  Wives  of  Windsor, 
first  appears  in  i.  4.  His  worst  fault,  according  to  Mrs.  Quickly, 
is  that  he  is  "  given  to  prayer." 

Rulers,  virtues  of.  Measure  for  Measure,  Hi.  2. 

Rules,  of  living,  AWs  Well  that  Ends  Well,  i.  1,  "  Love  all,"  etc. 

Rumour,  a  pipe,  II.  Henry  IV.,  induction ;  doubles  numbers, 
II.  Henry  IV..  Hi.  1 ;  in  cruel  times,  Macbetli,  iv.  2. 

Rumour,  "  the  presenter  "  in  II.  Henry  1 V.,  delivers  the  induc- 
tion, painted  full  of  tongues,  a  common  character  in  the  masque  of 
that  day. 

Rural  sports.     See  Sports. 

Rush,  Tib's,  AlVs  Well  that  Ends  Well,  ii.  2  Rush  ring,  some- 
times used  in  rustic  betrothals. 

Rushes,  lay  you  down  on,  I.  Henry  IV.,  Hi.  1.  It  was  the  cus- 
tom to  strew  floors  with  rushes. 

Russia,  a  night  in,  Measure  for  Measure,  ii.  1;  Emperor  of, 
Hermione  his  daughter,  A  Winter's  Tale,  Hi.  2. 

Rust,  better  to  be  eaten  with,  than  to  be  scoured  to  nothing  with 
perpetual  motion,  II.  Henry  IV.,  i.  2. 

Rutland,  call  him,  Richard  II..  v.  2.  The  Dukes  Aumerle, 
Surrey,  and  Exeter  were  deprived  of  their  dukedoms,  but  allowed  to 
retain  the  earldoms  of  Rutland,  Kent,  and  Huntingdon. 

Rutland,  Edmund  Plantagenet,  Earl  of,  third  son  of  the  Duke 
of  York,  a  character  in  III.  Henry  VI.,  introduced  in  i.  3,  where  he 
is  slain  in  cold  blood  by  Clifford,  after  the  battle  of  Wakefield.  He 
was  seventeen  years  of  age.  His  murder  is  spoken  of  in  Richard 
III.,  i.  2,  3,  and  iv.  4. 

Saba,  Henry  VIII.,  v.  4-     Queen  of  Sheba. 
Sabell,  Hamlet,  Hi.  2.    A  yellowish  colour ;  but  some  editions 
have  sables. 


INDEX   TO  SHAKSPERE'S   WORKS,  311 

Sack,  the  virtues  of,  II.  Henry  IV.,  iv.  3.  The  name  was  ap- 
plied to  several  kinds  of  wine.  Falstaff's  is  thought  to  have  been 
sherry. 

Sackerson,  Merry  Wives  of  Windsor,  i.  1.  An  educated  bear 
exhibited  in  London  in  Shakspere's  time. 

Sacrament,  death  without  the,  Hamlet,  i.  5 ;  taking  the,  King 
John,  V.  2 ;  Richard  IL,  i.  1;  iv.  1;  v.  2 ;  All's  Well  that  Ends 
Well,  iv.  3. 

Sacrifices,  at  Delphos,  A  Winter's  Tale,  Hi.  1 ;  to  appease  the 
dead,  Titus  Andronicus,  i.  1  or  2  ;  spotted  livers  in  the,  Troilus  and 
Cressida,  v.  3. 

Sad  (serious),  Tivo  Gentlemen  of  Verona,  i.  3;  A  Winter's  Tale, 
iv.  3  or  4,  and  elseivhere. 

Sadness,  an  unaccountable.  Merchant  of  Venice,  i.  1 ;  Richard 
II.,  ii.  2 ;  unlimited,  Much  Ado  about  Nothing,  i.  3. 

Safety,  he  that  steeps  his,  in  true  blood.  King  John,  Hi.  J/.. 

Saffron,  All's  Well  that  Ends  Well,  iv.  5  ;  A  Winter's  Tale,  iv.  2. 
Used  to  colour  pastry  with ;  also  a  fashionable  colour  in  clothing. 

Sagittary,  the,  Troilus  and  Oressida,  v.  5;  a  sign  in  Venice, 
Othello,  i.  1.  The  sagittary  was  an  archer  centaur  who  fought  for 
the  Trojans. 

Sailors,  characters  in  Twelfth  Night,  Hamlet,  and  Othello. 

Sain  (said),  Love'e  Labour's  Lost,  Hi.  1. 

Saint(s),  baiting  a  hook  with.  Measure  for  Measure,  ii.  2 ;  the 
great  may  jest  with.  Measure  for  Measure,  ii.  2 ;  to  vex  a.  Taming 
of  the  Shrew,  Hi.  2;  seeming  a,  and  playing  the  devil,  Richard  III, 
i.  3  ;  have  hands  that  pilgrims'  hands  do  touch,  Romeo  and  Juliet,  i. 
5  ;  a  damned,  Romeo  and  Juliet,  Hi.  2. 

Saint  Albans,  scene  of  a  part  of  II.  Henry  VL ;  battle  of 
(May  22,  1455),  IL  Henry  VL,  v.  2,  3;  III  Henry  VI.,  i.  1;  Rich- 
ard III,  i.  3.  The  last  reference  is  to  the  second  battle,  which  took 
place  Febmary  17.  1461.  The  Yorkists  were  defeated  by  Queen 
Margaret's  forces.  Saint  Albans  is  in  Hertfordshire,  twenty  miles 
aorthwest  of  London. 

Saint  Albans,  Mayor  of.  character  in  IL  Henry  VL..  intro- 
duced in  ii.  1.  The  town  was  not  incorporated  until  1552,  and 
therefore  had  no  mayor  at  this  time. 

Saint  Bennet's  Church,  in  lUyria,  Twelfth  Night,  v.  1.  There 
was  a  Saint  Rennet's  church  in  London. 

Saint  Colmes'  Inch  (Saint  Colomb's  Island).  Macbeth,  i.  2. 
Sweno  was  made  to  pay  heavily,  according  to  the  "  Chronicle,"  for 


312  INDEX  TO  SHAKSFERE'S   WORKS, 

the  privilege  of  burying  his  men  at  Colmes'  Inch,  now  Inchcomb,  a 
gmall  island  in  the  Firth  of  Forth. 

Saint  Edmund's  Bury,  scene  of  a  part  of  King  John. 

Saint  George,  our  ancient  word  of  courage,  Richard  III.,  v.  3. 

Saint  Paul's  Cathedral,  Richard  III..  Hi.  6.  It  was  the  cus- 
tom to  post  bulletins  there  for  the  public  to  read.   . 

Salad-days,  my,  when  I  was  green  in  judgment,  Antony  and 
Cleopatra,  i.  5. 

Salamander,  that,  applied  to  Bardolph,  I.  Henry  IV.,  Hi.  3. 

Salanio,  or  Solanio,  character  in  the  Merchant  of  Venice,  intro- 
duced in  the  first  scene,  a  friend  of  Antonio  and  Bassanio. 

Salarino,  a  character  in  the  Merchant  of  Venice,  introduced  in 
the  first  scene,  a  friend  of  Antonio  and  Bassanio. 

Salerio,  a  friend  of  Bassanio  in  the  Merchant  of  Venice,  appears 
as  a  messenger  in  Hi.  2. 

Salic  law,  the,  explained,  Henry  V.,  i.  2. 

Salisbury,  scene  of  v.  1,  in  Richard  IIL  It  is  seveuty-eight 
miles  west-southwest  of  London. 

Salisbury,  William  Longsword,  Earl  of,  character  in  King  John, 
introduced  in  the  first  scene.  His  abhorrence  of  John's  treachery  to 
Arthur  caused  him  to  go  over  to  the  side  of  France,  iv.  2 ;  but  he 
returned  after  the  accession  of  Henry  III.  He  was  a  son  of  Henry 
II.  and  the  fair  Rosamund  Clifford. 

Salisbury,  John  Montacute,  Earl  of,  a  character  in  Richard  II., 
first  appears  in  ii.  4.  He  was  beheaded  {v.  6)  in  consequence  of  his 
adherence  to  Richard.     The  earl  in  Henry  V.  was  his  son. 

Salisbury,  Thomas  Montacute,  Earl  of,  character  in  Henry  V. 
and  I.  Henry  VI..  appearing  first  in  iv.  3  of  the  former  play.  He 
was  restored  to  his  father's  title,  forfeited  for  adherence  to  Richard 
II.,  after  about  ten  years,  and  was  one  of  the  ablest  captains  under 
Henry  V.  in  France,  where  he  was  killed,  as  in  the  play,  before  Or- 
leans, /.  Henry  VI.,  i.  4..  He  was  "  as  full  of  valour  as  of  kind- 
ness, princely  in  both."  He  had  no  son,  and  the  title  went  to  Rich- 
ard Nevill,  the  Salisbury  of  the  next  play,  who  married  his  only 
daughter  Alice. 

Salisbury,  Richard  Nevill,  Earl  of,  son-in-law  of  the  preceding, 
character  in  II.  Henry  VI.  He  was  at  first  a  partisan  of  the  king, 
but  deserted  to  the  Yorkists,  fought  at  Saint  Alban's,  Bloreheath, 
Northampton,  and  Wakefield.  At  the  last-named  battle  he  was 
, wounded  and  taken,  and  soon  afterwai-d  beheaded.  Warwick,  "  the 
king-maker,"  was  his  son,  and  succeeded  to  his  father's  title,  though 


INDEX  TO  SHAKSPERE'S  WORKS.  313 

he  is  known  in  history  and  literature  by  the  title  that  he  received 
through  his  wife. 

Sallet  (a  close-fitting  head-piece),  //.  Henry  VI.,  iv.  10. 

Salt-butter  rogue^  a,  Merry  Wives  of  Windsor,  ii.  2.  One  not 
rich  enough  to  eat  freshly  made  butter. 

Saltiers  (satyrs).  A  Winter's  Tale,  iv.  3. 

Saltpetre,  villainous,  /.  Henry  IV.,  i.  3. 

Salutations,  Coriolanus,  ii.  1;  Henry  V.,  iv,  1;  Othello,  ii.  1: 
quiet,  Midsummer-iSlighfs  Dream,  v.  1;  to  Octavia,  Antony  and 
Cleopatra.  Hi.  6. 

Salvation,  AlVs  Well  that  Ends  Well,  iv.  3,  "Sir,  for  a  quart 
d'eeu  he  will  sell  the  fee-simple  of  his  salvation." 

Samingo  (San  Domingo),  II.  Henry  IV.,  v.  3. 

Samphire,  a  gatherer  of,  King  Lear,  iv.  6. 

Sampson,  a  servant  of  Capulet,  character  in  Romeo  and  Juliet, 
appears  in  i.  1. 

Samson,  Love's  Labour's  Lost,  i.  2 ;  I.  Henry  VI.,  i.  2 ;  Henry 
VIII.,  V.  3. 

Sanctuary,  the  privilege  of,  Comedy  of  Errors,  v.  1 ;  Richard 
III,  ii.  4>  "^-  I  >'  shall  we  desire  to  raze  (to  put  the  holy  to  base 
uses),  Measure  for  Measure,  ii.  2,  last  part ;  no  place  should  be,  for 
murder,  Hamlet,  iv.  7  or  4- 

>  Sandal  Castle,  two  miles  from  Wakefield,  scene  of  III.  Henry 
VI.,  i.  2-4.  It  was  built  about  1320 ;  during  the  civil  war  it  was 
besieged  by  the  parliamentary  army,  and  afterward  destroyed  by 
order  of  Parliament,  and  but  little  now  remains  of  the  ruins. 

Sanded  (sandy-coloured).  Midsummer- Nighfs  Dream,  iv.  1. 

Sands  (Sandys),  William,  Lord,  character  in  Henry  VIII. ,  intro- 
duced in  i.  3. 

Sans  (without,  a  French  word  in  common  use  in  Shakspere's 
time),  As  You  Like  It,  ii.  7,  and  elsewhere. 

Sarcasm,  Much  Ado  about  Nothing,  ii.  1. 

Sardis,  scene  of,  Julius  CcBsar,  iv.  2.  It  is  forty-five  miles  east 
of  Smyrna,  in  Asia  Minor. 

Sarum  Plain,  King  Lear,  ii.  2.  Sarum  is  the  local  name  for 
■i^alisbury. 

Satan,  slanderous  as.  Merry  Wives  of  Windsor,  v.  5.    See  Devil. 

Satiety.     See  Surfeit,  Excess. 

Satire,  keen  and  critical.  Midsummer- Nighfs  Dream,  v.  1 ;  wit 
larded  with  malice,  Troilus  and  Cressida,  v.  1;  liberty  for,  As  You 
Like  It,  ii.  7 ;  Love's  Labour's  Lost,  v.  2.   '  • 


314  INDEX  TO  SHAKSPERE'S  WORKS, 

Satisfaction,  3Iercha7it  of  Venice,  iv.  1,  "  He  is  well  paid  that  is 
well  satisfied." 

Satisfy  (quench),  Measure  for  Measure,  in.  1. 

Satis  quod  sufficit,  Love's  Labour's  Lost,  v.  1.  Enough  is  as 
good  as  a  feast. 

Saturn,  Much  Ado  ahout  Nothing,  i.  3 ;  IL  Henry  IV.,  ii.  4; 
Titus  Andronicus,  ii.  3  ;  Cymbeline,  ii.  5  ;  So7inet  xcviii. 

Satuminus,  a  character  in  Titus  Andronicus,  son  of  the  late 
emperor,  and  afterward  emperor,  introduced  in  the  first  scene,  where 
he  urges  his  hereditary  claim  to  the  throne.  He  is  made  emperor  at 
the  instance  of  Titus,  and  marries  Tamora,  queen  of  the  Goths; 
kills  Titus  (v.  3),  who  has  just  slain  Tamora ;  and  is  himself  killed  by 
Lucius,  who  becomes  his  successor. 

Sat3rr(s),  A  Winter's  Tale,  iv.  4  /  Hyperion  to  a,  Hamlet,  i.  2. 
They  were  goat-like  deities  of  the  woods  and  fields. 

Savages,  life  of,  Cymheline,  Hi.  3  ;  Twelfth  Night,  iv.  1. 

Saviolo,  Vincentio.    See  Duelling. 

Saviour.     See  Christ. 

Savoy,  the,  IL  Henry  VI.,  iv.  7.  A  palace  of  the  Duke  of  Lan- 
caster, destroyed  in  Wat  Tyler's  rebellion  in  1381.  It  was  on  the 
bank  of  the  Thames. 

Saws,  full  of  wise,  As  You  Like  It,  ii.  7. 

Say  (a  kind  of  woollen  cloth),  IL  Henry  VI.,  iv.  7.  • 

Say  (and  Sele),  James  Fiennes,  Lord,  character  in  II.  Henry  VI., 
introduced  in  iv.  4.  In  iv.  2  Cade's  men  resolve  to  have  his  head, 
and  in  iv.  7  he  is  taken.     His  head  was  set  on  London  Bridge. 

Say  that  thou  didst  forsake  me  for  some  fault,  Sonnet 

Scales,  Thomas,  Lord,  character  in  II.  Henry  VI.,  appears  in 
iv.  5,  spoken  of  in  I.  Henry  VI.,  i.  1 ;  his  daughter,  ///.  Henry  VI., 
iv.  1.  He  was  put  to  death  by  the  Yorkists  in  1460.  His  only 
daughter  and  heiress  married  Earl  Rivers. 

Scaling  (weighing),  Coriolanus,  ii.  3. 

Scall  (scald-head),  Merry  Wives  of  Windsor,  Hi.  1. 

Scambling,  Henry  V.,  i.  1;  v.  2.  Mondays  and  Saturdays  in 
Lent  were  called  scambling  days.  No  regular  meals  were  served, 
and  members  of  the  household  scambled  or  served  themselves  as 
best  they  could. 

Scamels,  The  Tempest,  ii.  2.  The  meaning  is  uncertain :  the 
sea-gull,  the  young  of  the  limpet  or  scam,  and  the  kestrel  or  stan- 
nyel,  have  been  suggested. 


INDEX  TO  SHAKSPERE'S   WORKS.  315 

Scandal,  Julius  Cmsar,  i.  2 ;  Sonnet  cxii. 
Scantling  (portion),  Troilus  and  Cressida,  i.  3. 
Scape-goat,  Lepidus  to  be  made  a,  Julius  Cmsar,  iv.  1, 


MTl,  VI. 

Scarecrow,  of  the  law,  a,  Measure  for  Measure,  ii.  1;  Talbot 
exhibited  as  a,  I.  Henry  VI.,  i.  4  >  called  a  crow-keeper,  Romeo  and 
Juliet,  i.  4' 

Scarlet,  and  John,  Merry  Wives  of  Windsor,  i.  1.  Robin  Hood's 
men. 

Scarre,  AlVs  Well  that  Ends  Well,  iv.  2 ;  Cymheline,  v.  5.  So 
in  some  editions.  The  meaning  is  uncertain,  but  seems  to  be  occa- 
sion or  opportunity. 

Scars,  he  jests  at,  that  never  knew  a  wound,  Romeo  and  Juliet, 
ii.  2 ;  shown  by  a  candidate,  Coriolanus,  ii.  2. 

Scarus,  character  in  Antony  and  Cleopatra,  introduced  in  Hi. 
10,  friend  of  Antony. 

Schoolboy,  the  whining,  As  You  Like  It,  ii.  7  ;  stupidity  of  the. 
Much  Ado  about  Nothing,  ii.  1. 

School-days,  friendship  of,  Midsummer-Nighf s  Dream,  Hi.  2. 

Schoolmasters,  Miranda's,  The  '^empest,  i.  2  ;  pretended,  Tam- 
ing of  the  Shrew,  i.  1,  2.    See  Holofernes,  Evans,  and  Pinch. 

Sciatica,  Measure  for  Pleasure,  i.  2 ;  Timon  of  Athens,  iv.  1. 

Scogan,  Henry,  said  in  II  Henry  IV..  Hi.  2,  to  have  had  his 
head  broken  by  Falstaff.  He  wrote  a  ballad  to  the  princes,  sons  of 
Henry  IV. 

Scone,  a  place  near  Perth,  where  the  Scottish  kings  were 
crowned,  Macbeth,  ii.  4,  and  the  last  line  of  the  play. 

Scorn,  in  love,  Tivo  Gentlemen  of  Verona,  Hi.  1 ;  in  her  eyes, 
Much  Ado  about  Nothing,  Hi.  1 ;  the  slow  finger  of,  Othello,  iv.  2 ; 
of  love,  Venus  and  Adonis,  I.  252  ;  of  the  people,  Coriolanus,  Hi.  1 ; 
II  Henry  IV.,  iv.  1 ;  the  argument  of  one's  own.  Much  Ado  about 
Nothing,  ii.  3;  and  derision  never  come  in  tears,  Midsummer- 
Nighf  s  Dream,  Hi.  2. 

Scotland,  scene  of  the  greater  part  of  Macbeth.  It  is  thought 
that  a  play  on  a  Scotch  subject  was  desired  to  be  represented  before 
James  I.  Its  misery  under  Macbeth,  iv.  3  ;  its  barrenness.  Comedy 
of  Errors,  Hi.  2. 

Scots,  invasions  of  England  by,  and  king  of,  taken,  Henry  V.,  i.  2. 

Scottish  lord,  a,  described,  3Ierchant  of  Venice,  i.  2. 

Scrimer  (eserimeur,  fencer),  Hamlet,  i%  7  or  4- 


316  INDEX  TO  SHAKSPERE'S  WORKS. 

Scripture,  the  devil  can  cite,  Merchant  of  Venice,  i.  3 ;  odd 
ends  from,  Richard  III.,  i.  3.     See  Bible. 

Scrofula,  cure  of,  by  the  king,  Macheth,  iv.  3.    See  King's  Evil. 

Scroop,  or  Scrope,  Sir  Stephen,  a  character  in  Richard  II.,  in- 
troduced in  Hi.  2.  He  was  a  loyal  friend  to  Richard,  but  was  after- 
ward taken  into  favour  by  Henry  IV.  His  son  is  the  Lord  Scroop 
who  is  a  character  in  Henry  V. 

Scroop,  Richard,  Archbishop  of  York,  character  in  both  parts  of 
Henry  IV.  In  i.  3  of  the  first  part,  he  is  spoken  of  as  disaffected 
toward  the  king  on  account  of  the  death  of  his  brother,  the  Earl  of 
Wiltshire.  He  was  not,  however,  a  brother  of  the  earl,  who  was  a 
Scroop  of  Masham,  brother  of  Lord  Scroop  of  Richard  II.,  and  uncle 
of  the  one  of  Henry  V.  Many  historians  are  said  to  have  made  the 
error  into  which  Shakspere  has  fallen.  The  archbishop  joins  North- 
umberland's party  in  opposition  to  the  king.  In  the  second  part  he 
appears  first  in  i.  3,  where  the  conspirators  meet  at  his  palace.  In 
iv.  1  and  2,  they  receive  an  embassy  from  the  king  and  disperse  their 
army.  But  the  king's  party  did  not  keep  its  faith,  and  the  arch- 
bishop was  condemned  with  scarcely  a  form  of  trial  and  executed  in 
1405.  This  was  the  first  instance  of  capital  punishment  inflicted  on 
a  bishop.  He  requested  the  executioner  to  despatch  him  with  five 
strokes  of  the  sword,  in  memory  of  the  five  wounds  of  the  Saviour. 
He  was  regarded  as  a  martyr,  and  pilgrimages  were  made  to  his  tomb. 

Scroop,  Henry,  Lord,  of  Masham,  character  in  Henry  V.  His 
connection  with  a  conspiracy  to  murder  the  king  is  spoken  of  in  the 
prologue  to  act  ii.  He  is  exposed  and  ordered  to  execution  in  ii.  2, 
where  the  king  reproaches  him  for  his  treachery  toward  a  monarch 
whose  intimate  friendship  he  had  enjoyed,  and  whose  counsels  he  had 
shared.  The  king  had  sent  him  on  an  embassy  to  Prance,  and  he 
was  said  to  have  been  corrupted  while  there  by  the  offer  of  an  enor- 
mous bribe.     He  was  beheaded  in  1415. 

Scroyles  (scrubs).  King  John,  ii.  1  or  2. 

Scruple,  some  craven,  Hamlet,  iv.  4  or  1 ;  a,  Trojan  slave  for 
every,  of  Helen's  weight,  Troilus  and  Cressida,  iv.  1. 

Sculls,  scaled  (schools  of  fishes),  Troilus  and  Cressida,  v.  5. 

Sculpture,  Cymbeline,  ii.  4;  A  Winter's  Tale,  v.  2,  3. 

Scylla  and  Charybdis,J!f erc^aw^  of  Venice,  Hi.  5. 

Scythian,  the  barbarous,  King  Lear,  i.  1. 

Sea,  the,  storms  on.  The  Tempest,  i.  1;  II.  Henry  IV.,  Hi.  1; 
grew  civil,  3Iidsummer-NighVs  Dream,  ii.  2 ;  allusion  to  the  notion 
that  those  buried  in,  coulfi  not  rest  for  one  hundred  years,  Midsum- 


INDEX  TO  SHAKSPERE'S   WORKS.  317' 

mer-NighVs  Dream,  Hi.  2 ;  obeys  the  moon,  A  ^Yinters  Tale,  i.  2 ; 
1.  Henry  IV.,  i.  2 ;  treasures  of,  Henry  V.,  i.  2 ;  backed  with,  ///. 
Henry  VI.,  iv.  1 ;  the  bottom  of,  Richard  HI,  i.  4  ;  what  fool  hath 
added  water  to,  Titus  A'ndro7iicys,  Hi.  1 ;  in  storm,  King  Lear,  Hi. 
7 ;  Othello,  ii.  1 ;  dangers  of,  Pericles,  ii.,  prologue ;  watery  king- 
dom, Merchant  of  Venice,  ii.  6  ;  a  thief,  Timon  of  Athens,  iv.  3. 

Sea-captains,  characters  in  The  Tempest,  uitroduced  in  i.  2,  and 
in  Twelfth  Night,  introduced  in  i.  2, 

Sea-change,  suffered  a,  The  Tempest,  i.  2,  song. 

Seacoal,  George,  mentioned  in  3Iuch  Ado  about  Nothing,  Hi.  3. 

Seacoal-fire,  a,  //.  Henry  IV.,  H.  1.  So  called  because  the  coal 
was  brought  across  the  sea. 

Seal,  the  great,  Henry  VIII. ,  Hi.  2. 

Sea-maid,  music  of.    See  under  Maidenhood. 

Seamanship,  The  Tempest,  i.  1 ;  Twelfth  Night,  v.  1,  "  A  baw- 
bling  vessel  was  he  captain  of,"  etc. 

Sea-monster,  the.  King  Lear,  i.  4.  Probably  the  hippopota- 
mus, which  stood  for  ingratitude. 

Sear,  Hamlet,  H.  2.  The  part  of  a  gun  acted  on  by  the  trigger ; 
to  be  tickled  of  the  sear,  is  to  be  easily  moved. 

Seas,  the  multitudinous,  Macbeth,  ii.  2. 

Season,  the  right,  makes  perfect,  Merchant  of  Venice,  v.  1 ; 
roses  and  snow  out  of.  Love's  Labour's  Lost.  i.  1 ;  the  appropriate, 
Antony  and  Cleopatra,  ii.  2,  "  Every  time  serves  for  the  matter  that 
is  then  born  in  it." 

Seasons,  inappropriate  weather  of,  due  to  fairies,  Midsummer- 
Nighfs  Dream,  ii.  1 ;  supposed  to  allude  to  the  peculiar  weather  of 
.1594;  unnatural,  are  omens  of  ill,  //.  Henry  IV.,  iv.  4. 

Sebastian,  brother  of  the  King  of  Naples,  in  The  Tempest,  ap- 
pears in  the  first  scene.  He  is  a  base  character,  aggravating  his 
brother's  grief  at  the  loss  of  his  son  with  reproaches  and  mockery, 
and  plotting  with  Antonio  to  take  the  king's  life  in  order  that  he 
himself  may  secure  the  throne. 

Sebastian,  name  assumed  by  Julia  in  the  Two  Gentlemen  of 
Verona,  iv.  4^ 

Sebastian,  brother  of  Viola  in  Twelfth  Night,  first  appears  in 
li.  i,  a  simple,  manly,  straightforward  character. 

Secrecy,  AlVs  Well  that  Ends  Well,  iv.  3,  "  I  am  the  grave  of 
it;"  no  lady  closer  for,  I.  Henry  IV.,  li.  3 ;  let  your  secrecy  moult 
no  feather,  Hamlet,  U.  2 ;  give  it  an  understanding  but  no  tongue, 
Hamlet,  i.  2.  * 

21 


318  INDEX  TO  SEAKSPERE'S    WORKS. 

Secretaries,  of  Wolsey  in  Henry  VIII.,  were  Dr.  Richard  Pace 
{q.  V.)  and  William  Burbank, 

Secret(s),  deep  and  dangerous,  /.  Heiiry  IV.,  i.  3 ;  trusting  a 
woman  with,  /.  Henry  IV.,  ii.  3 ;  Julius  Ccesar,  ii.  1 ;  trusting  the 
air  with,  Titus  Andronicus,  iv.  2 ;  key  of  a,  Hamlet,  i.  3 ;  hints 
about  a,  Hamlet,  i.  5,  end ;  revealing,  Hamlet,  Hi,  4 ;  rip  the  heart 
to  find  a,  Cymbeline,  tii.  5;  two  may  keep,  Romeo  and  Juliet, 
ii.  4. 

Sect,  a  creature  to  begin  a,  with  success,  A  Winter's  Tale,  v.  1 ; 
love  a,  Othello,  i.  3. 

Sectary,  Cranmer  called  a,  Henry  VIII.,  v.  3 ;  an  astronomical 
(astrologer),  King  Lear,  i.  2. 

Security,  for  debt,  Falstaff  on,  //.  Henry  IV..  i.  2 ;  obstacle  to, 
Macbeth,  Hi.  4;  mortals'  enemy,  llacbeth,  Hi.  5 ;  for  Scotland, 
Macbeth,  Hi.  6 ;  our  advantages  lull  us  to  false,  Ki7ig  Lear,  iv.  1, 
"  Our  means  secure  us  ; "  make  assurance  doubly  sure,  Macbeth,  iv. 
1;  fast  find,  fast  bind,  Merchant  of  Venice,  ii.  5. 

Sedges,  Two  Gentlemen  of  Verona,  ii.  7 ;  Much  Ado  about 
Nothing,  ii.  1 ;  Taming  of  the  Shrew,  induction,  2. 

Sedition.     See  Insurrection,  Eebellion. 

Seel  (to  close  up  the  eyes,  as  in  the  training  of  a  hawk),  II.  Hen- 
ry IV.,  Hi.  1;  Macbeth,  Hi.  1;  Othello,  i.  3 ;  Hi.  3. 

Seely,  Sir  Bennet,  mentioned  in  Richard  II.,  v.  6,  as  having 
been  beheaded.  This  character  is  variously  called  Sir  Bennet  or 
Benedict  Seely,  Sir  John  Scheveley,  and  Sir  John  Shelley. 

Seemers  (hypocrites),  revelation  of.  Measure  for  Measure,  i.  4, 
end. 

Seeming,  faults  from.  Measure  for  Measure,  Hi.  2  ;  appearance 
of  humane,  Othello,  ii.  1 ;  I  know  not  seems,  Hamlet,  i.  2  ;  decep- 
tive, 3Iuch  Ado  about  Nothing,  iv.  L 

Seen  (versed),  in  music,  Taming  of  the  Shrew,  i.  2, 

Seen,  to  have,  much,  As  You  Like  It,  iv.  1, 

Segregation  (scattering),  Othello,  ii.  L 

Seized  (possessed),  Hamlet,  i.  }. 

Seleucus,  Cleopatra's  treasurer,  introduced  in  v.  2  of  Antony 
and  Cleopatra,  where  he  declares  her  inventory  false,  and  is  re- 
proached by  her  for  his  ingratitude. 

Self,  to  see  one's,  as  others  see.  As  You  Like  It,  i.  2,  speech  of 
Celia:  my  other,  Richard  III.,  ii.  2 ;  Troilus  and  Cressida,  Hi.  2 ; 
swear  by  thy  gracious,  Romeo  and  Juliet,  ii.  2;  faults  of  one's, 
Lucrece,  I.  633. 


INDEX   TO  SHAKSPERE'S  WORKS.  319 

Self-abnegation,  in  love,  Sojinets  xxxv-xxxix.,  Ixxxviii.-xc, 
clxix. 

Self-accusation,  of  Helena,  AlVs  Well  that  Ends  Well,  iii.  2 ; 
of  ^Malcolm,  Macbeth,  iv.  3. 

Self-assumption,  Troilus  and  Cressida,  ii.  3. 

Self-betrayal,  Lucrece,  I.  160. 

Self-bounty  (natural  generosity),  Othello,  iii.  3, 

Self-charity,  Othello,  ii.  3. 

Self-comparisons,  Macbeth,  i.  2.  Blows  to  compare  with  his 
own. 

Self-condemnation,  by  over-severity,  Measure  for  Measure, 
iii.  2. 

Self-control,  King  John,  Hi.  1,  '•  Better  conquest,"  etc. ;  Sonnet 
xciv.  ;  Othello,  i.  3. 

Self-covered,  King  Lear,  iv.  2.     Disguising  the  real  self. 

Self-defence,  III.  Henry  VI.,  ii.  2,  "  The  smallest  worm,"  etc. ; 
killing  in,  Timon  of  Athens,  Hi.  5 ;  Othello,  ii.  3,  speech  of  Montano. 

Self-denial,  Love's  Labour's  Lost,  i.  1,  "  Brave  conquerors,"  etc. 

Self-esteem,  of  Glendower,  /.  Heiiry  IV.,  iii.  1 ;  Twelfth  Night, 
ii.  3. 

Self-examination,  Measure  for  Measure,  ii.  2,  "  Go  to  your 
bosom,"  etc. ;  Coriolanus,  ii.  1,  "  Oh,  that  you  could  turn  your  eyes 
toward  the  napes  of  your  necks,  and  make  an  interior  survey  of  your 
good  selves." 

Self-help,  AlVs  Well  that  Ends  Well,  i.  1,  end. 

Self-interest,  in  serving,  King  Lear,  ii.  4..    See  also  Commodity. 

Self-knowledge,  Measure  for  Jleasure,  ii.  2 ;  AlVs  Well  that 
Ends  Well,  iv.  1,  "  Is  it  possible  he  should  know  what  he  is  and  be 
that  he  is?" 

Self-love,  the  most  inhibited  sin,  AlVs  Well  that  Ends  Well, 
i.  1;  sensitiveness  of.  Twelfth  Night,  i.  5;  not  so  vile  as  self- 
neglecting,  Henry  V.,  ii.  4;  none,  in  a  true  soldier,  II.  Henry  VI., 
V.  2  ;  read  contrary,  Sonnet  Ixii. ;  is  universal,  Othello,  i.  3. 

Self-praise,  AlVs  Well  that  Ends  Well,  i.  3,  "  We  wound  our 
modesty,"  etc. ;  Troilus  ajid  Cressida,  i.  3,  speech  of  ^neas ;  ii. «?, 
"  He  that  is  proud,"  etc. 

Self-reliance,  AlVs  Well  that  Ends  Well,  i.  1,  '•  Our  remedies  oft 
in  ourselves  do  lie." 

Self-slaughter.     See  Suicide. 

Self-unable  (not  self-guided)  motion,  AlVs  Well  that  Ends 
Well,  iii.  1 


INDEX  TO  SHAKSPERE'S   WORKS. 

Semblable  (like,  likeness),  Timon  of  Athens,  iv.  3 ;  Hamlet,  v.  2. 

Semiramis,  Taming  of  the  Shrew,  induction,  2  ;  Titus  Androni- 
cus,  ii.  L    A  traditionary  Queen  of  Assyria  about  3000  b.  c. 

Semper  idem  (always  the  same),  for  absque,  etc.  (without  this 
there  is  nothing),  scraps  of  Latin  that  Pistol  has  picked  up  from 
mottoes,  II.  Henry  IV.,  v.  5. 

Sem.proiiius,  a  kinsman  of  Titus  Andronicus,  addressed  in  iv.  3. 

Sem.pronius,  one  of  the  lords,  flatterers  of  Timon  of  Athens,  in- 
troduced in  Hi.  3,  refuses  a  loan  to  Timon  on  the  pretence  of  anger 
at  not  having  been  applied  to  first. 

Senators,  characters  in  Julius  Ccesar,  Timon  of  Athens,  Titus 
Andronicus,  Cymheline,  and  Othello. 

Seneca,  quotations  from,  Titus  Andronicus,  ii.  1 ;  iv.  1 ;  cannot 
be  too  heavy,  Hamlet,  ii.  2. 

Senoys  (Sienese),  the.  Alls  Well  that  Ends  Well,  i.  2. 

Sensation,  a  theory  of,  Lucrece,  I.  442. 

Sense,  common.  Alls  Well  that  Ends  Well,  ii.  1. 

Senseless,  exceeding  good.  Twelfth  Night,  Hi.  4- 

Senses,  of  the  king,  have  but  human  conditions,  Henry  V.,  iv. 
1 ;  other  senses  imperfect  from  the  eyes'  anguish.  King  Lear,  iv.  6  ; 
untuned,  King  Lear,  iv.  7. 

Sentence,  a,  like  a  glove.  Twelfth  Night,  Hi.  1. 

Sentences,  drunk  out  of  his  five.  Merry  Wives  of  Windsor,  i.  1. 

Separation.     See  Parting. 

Sepulchre,  the  Holy,  Richard  II,  ii.  1. 

Sequent  (follower).  Love's  Labour's  Lost,  iv.  2. 

Serenade,  Lysander's,  Midsummer- Nighfs  Dream,  i.  1. 

Serenity,  of  temper,  Hamlet,  Hi.  2. 

Sergeant,  a  soldier  in  JIacbeth,  i.  2.  The  title  was  applied  to 
an  officer  of  higher  rank  formerly  than  now.  The  sergeant  ranked 
next  to  the  esquire. 

Sergeant-at-arms,  a,  character  in  Henry  VIII,  i.  1. 

Sermons,  in  stones,  As  You  Like  It,  ii.  1. 

Serpent(s),  look  like  the  flower,  but  be  the,  Macbeth,  i.  5  ;  allu- 
sion to  the  belief  that  the  bite  of  one  could  be  cured  by  its  blood, 
Richard  II,  i.  1,  "  I  am  disgraced,'"  etc. ;  allusion  to  the  absence  of, 
from  Ireland,  Richard  II,  ii.  1,  "  Now  for  our  Irish  wars,"  etc. ; 
lest  pity  prove  a,  Richard  II,  v.  3,  allusion  to  the  fable  of  the  farmer 
and  the  viper;  of  old  Nile,  Antony  and  Cleopatra,  i.  5 ;  the  worm 
of  Nilus,  Antony  and  Cleopatra,  v.  2;  bred  of  mud  by  the  sun,  Anr 
tony  and  Cleopatra,  ii,  7. 


lNi)£:X  TO  SHAKSPEUE'S   WORKS.  321 

Serpigo  (a  skin  disease),  Pleasure  for  Measure,  in.  1 ;  Troilus 
and  Cress i da,  ii.  3. 

Servant(s),  true,  A  Winter's  Tale,  i.  2,  "  Why  he  that  wears," 
etc. ;  treatment  of  a,  Comedy  of  Errors,  iv.  4;  faithlessness  of,  Hen- 
ry VIII.,  ii.  1 ;  addressed  by  the  master's  name  (Varro),  Timon  of 
Athens,  ii.  2  ;  faithful,  Timon  of  Athens,  iv.  2  ;  kept  feed,  Macbeth, 
Hi.  4;  sworn  (alluding  to  the  custom  of  servants  taking  an  oath  of 
fidelity),  Cymheline,  ii.  4;  &  good,  does  only  just  commands,  Cymhe- 
line,  V.  1 ;  an  unprofitable,  Merchant  of  Venice,  ii.  5. 

Service,  of  the  antique  world,  As  You  Like  It,  ii.  3;  zealous,  of 
the  king,  Henry  VIII.,  Hi.  2;  folly  of  faithful,  Othello,  i.  1;  to  the 
state,  Othello,  v.  2. 

Servilius,  a  servant  of  Tinfion  of  Athens,  introduced  in  ii.  2. 

Sessa  (cease),  Taming  of  the  Shrew,  induction,  1 ;  King  Lear, 
Hi.  6. 

Setebos,  the  name  of  a  god  spoken  of  by  Caliban  as  the  god  of 
his  mother  Sycorax,  The  Temp-st,  i.  2;  v.  1.  In  Richard  Eden's 
"  History  of  Travayle,"  London,  1577,  Setebos  is  given  as  the  name 
of  a  god  worshipped  by  the  Patagonians. 

Seven  ages  of  man,  the.  As  You  Like  It,  ii.  7. 

Several  (a  field  enclosed,  not  common),  Love's  Labour's  Lost,  ii.  1. 

Severn  River,  the,  affrighted,  I.  Henry  IV.,  i.  3;  the  sandy- 
bottomed,  L  Henry  IV.,  Hi.  1. 

Sewer  (one  who  placed  dishes  on  the  table),  Macbeth,  i.  7. 

Sexton,  a,  character  in  Much  Ado  about  Nothing,  iv.  2. 

Seymour,  Richard  de  St.  Maur,  Lord,  spoken  of  in  Richard  II., 
ii.  3,  as  being  at  Berkeley  Castle  with  the  Duke  of  York. 

Seyton,  name  of  an  officer  attending  IMacbeth  in  v.  3,  5. 

Shadow,  a  recruit  in  //.  He?iry  IV,  appears  in  Hi.  2. 

Shadows,  those  that  kiss,  Merchajit  of  Venice,  H.  9;  of  the 
king,  /.  Heiiry  IV.,  v.  4;  to  fill  the  muster-roll,  77.  Henry  IV.,  Hi. 
2  ;  have  struck  more  terrors  than  the  substance  of  ten  thousand  sol- 
diers, Richard  III.,  v.  3. 

Shafalus,  true  to  Procrus,  Midsummer-Night's  Dream,  v.  1.    See 

PROCRIS. 

Shaft,  one  sent  after  another.  Merchant  of  Venice,  i.  1;  the 
rich  golden  (Cupid's),  Twelfth  Night,  i.  1 ;  or  a  bolt,  see  Proverbs. 

Shall,  his  popular  shall,  Coriolanus,  Hi.  1. 

Shall  I  compare  thee  to  a  summer  day  ?  Sonnet  xviii. 

Shallow,  Ri.hert,  a  country  justice  in  IT.  Henry  IV.,  introduced 
m  Hi.  2,  and  in  the  Merry  Wives  of  Windsor,  introduced  in  the  first 


322  INDEX  TO  SHAKSPERE'S   WORKS. 

scene.  He  is  a  fool,  a  braggart,  and  a  liar,  boasting  of  sins  in  his 
youth  which  he  never  committed.  The  character  is  supposed  to  be 
a  caricature  of  Sir  Thomas  Lucy,  who  caused  Shakspere  to  be  ar- 
rested for  stealing  deer.     See  Lucy. 

Shallowness,  AlVs  Well  that  Ends  Well,  ii.  3,  "  I  did  think 
thee,"  etc.,  and  "  Do  not  plunge,"  etc. ;  Hastings  accused  of,  II.  Hen- 
ry IV.,  iv.  2. 

Shame,  death  the  fairest  cover  for,  3Iuch  Ado  about  Notliing, 
iv.  1 ;  hath  spoiled  the  world,  King  John,  Hi.  4  ;  marked  by  Nature 
to  do  a  deed  of,  King  John,  iv.  2 ;  not  to  be  borne,  even  at  the 
king's  command,  Richard  II.,  i.  1 ;  serves  thy  life  and  attends  thy 
death,  Richard  III,  iv.  4;  ashanaed  to  sit  upon  his  brow,  Romeo  and 
Juliet,  Hi.  2 ;  where  is  thy  blush,  Hamlet,  Hi.  ^ ;  a  sovereign,  King 
Lear,  iv.  3 ;  imagines  itself  detected,  Lucrece,  I.  1342. 

Shards  (wings),  of  the  beetle,  Macbeth,  Hi.  2;  Antony  and  Cleo- 
patra, Hi.  2 ;  Cymbeline,  Hi.  3  ;  (fragments  of  pottery),  Hamlet,  v.  t 

Sharked  (gathered  or  snapped),  Hamlet,  i.  1.  To  shark  is  to 
live  by  shifts. 

Shaving-,  of  the  head  before  execution.  Measure  for  Measure, 
iv.  2.  Prisoners  often  desired  to  receive  the  tonsure  of  the  monks 
before  death. 

Shaw,  Dr.  Ralph,  Richard  III,  Hi.  5.  He  and  Friar  Penker 
are  sent  for  by  Gloucester  to  meet  him  at  Baynard's  Castle.  Sir 
Thomas  More  says  they  were  "both  doctors  in  divinity,  both  great 
preachers,  both  of  more  learning  than  virtue,  of  more  fame  than 
learning,  and  of  more  learning  than  truth."  Dr.  Shaw  was  a  brother 
of  the  lord  mayor,  Sir  Edmund  Shaw. 

She,  the  unexpressive.  As  You  Like  It,  Hi.  2. 

Shealed  (shelled),  Ki^ig  Lear,  i.  4. 

Shearman  (tailor),  II.  Henry  VI.,  iv.  2. 

Shears,  a  pair  of — proverbial  saying.  Measure  for  3Ieasure,  i.  2. 

Sheba,  Queen  of.    See  Saba. 

Sheep,  love  kills,  Love's  Labours  Lost,  iv.  3  ;  'the  harmless.  III 
Henry  VI.,  v.  5. 

Sheep-biter  (thief),  Twelfth  Night,  H.  5. 

Sheep-shearing,  feast  at,  A  Winter's  Tale,  iv.  3,  4. 

Shent  (scolded),  Merry  Wives  of  Windsor,  i.  4;  Twelftli  Night, 
iv.  "2 ;   Tj'oilus  and  Cressida,  ii.  3 ;  Coriolanus,  v.  2;  Hamlet.  Hi.  2. 

Shepherd,  the  unfolding  star  calls  up  the.  Measure  for  Meas- 
ure, iv.  2 :  life  of  a.  As  Yon,  Like  It,  Hi.  2 :  UT.  Henry  VI.,  H.'^B; 
philosophy  of  a,  As  You  Like  It,  Hi.  2  ;  dead,  As  You  Like  It,  Hi.  5 


INDEX  TO  SHAKSPERE'S   WORKS.  323 

The  dead  shepherd  is  Marlowe,  and  the  saw  is  quoted  from  his 
"  Hero  and  Leander,"  published  in  1598, 

Shepherd,  an  old,  is  a  character  in  A  Winter's  Tale,  introduced 
in  Hi.  3,  the  reputed  father  of  Perdita. 

Shepherd,  an  old,  a  character  in  1.  Henry  VL,  father  of  Joan 
of  Arc  introduced  in  v.  ^,  where  he  is  denied  by  his  daughter. 

Shepherd  to  his  love,  the  (by  Christopher  Marlowe),  Passion- 
ate Pilgrim,  xx. 

Shepherdesses.     See  Mopsa  and  Dorcas. 

Sheriff,  of  Northamptonshire,  character  in  King  John.  Sir  Si- 
mon de  Pateshull. 

Sheriff,  a,  character  in  7.  Henry  IV. 

Sheriff  of  York,  mentioned  in  //.  Henry  IV.     Sir  Thomas 

Rokeby. 

Sheriff,  a,  character  in  II.  Henry  VL 

Sheriff,  of  Wiltshire,  character  in  Richard  III,  first  appears  in 
V.  1.    Henry  Long,  of  WraxalL 

Sheriff's  post,  Twelfth  Night,  i.  5.  Set  up  at  the  sheriff's  door 
for  placing  notices  on. 

Sherris,  effects  of,  II.  Henry  IV.,  iv.  S. 

Ship(s),  scene  on  a.  The  Tempest,  i.  1;  carcass  of  a,  The  Tern- 
pest  i.  2;  cannot  perish,  having  thee  on  board,  Two  Gentlemen  of 
Verona,  i.  1;  movement  of,  Henry  7.,  Hi.,  chorus,  "Behold  the 
threaden  sails,"  etc.;  the  state  like  a.  in  danger,  III  Henry  VL,  v. 
4  ;  Grecian.  Troilus  and  Cressida,  prologue. 

'  Shipwreck,  The  Tempest,  i.  2;  ii.  1 ;  Comedy  of  Errors,  i.  1; 
Twelfth  Night,  1.2;  A  Winter's  Tale,  Hi.  3 ;  Merchant  of  Venice, 

Hi.  2. 

Shirley,  Sir  Hugh,  the  Shirley  mentioned  in  I.  Henry  IV.,  v.  ^ 
as  having  worn  one  of  the  coats  of  the  king  at  Shrewsbury,  and  hav- 
ing been  slain. 

^  Shirt,  a.  and  a  half,  in  a  whole  company,  L  Henry  IV.,  iv.  2;  of 
Nessus,  Antony  and  Cleopatra,  iv.  10. 

Shive  (slice),  Titus  Androriicus,  ii.  L 

Shoe-maker,  the,  should  meddle  with  his  yard  and  the  tailor 
with  his  last,  Romeo  and  Juliet,  i.  2. 

Shoe-tie,  a  traveller  and  prisoner,  spoken  of  in  Pleasure  for 
Measure,  iv.  3.     This  was  a  name  commonly  applied  to  a  traveller. 

Shog  (jog).  Henrv  V.,  ii.  1.  3. 

Shore,'  Jane.  Richard  IIL,i.  1;  %ii.  ^,  5.  Mistress  of  Edward 
IV.,  and  afterward  of  Hastings. 


324:  INDEX  TO  SHAKSPERE'S  WORKS. 

Shortcake,  Alice,  3Ierry  Wives  of  Windsor,  i.  1. 

Shot,  to  pay,  Two  Gentlemen  of  Verona,  ii.  5. 

Shoughs  (a  shaggy  kind  of  dogs),  JIacbeth,  Hi.  1. 

Shoulder-shotten  (having  a  dislocated  shoulder),  Taming  of 
the  Shrew,  H.  3. 

Shovel-boards,  Merry  Wii^es  of  Windsor,  i.  1.  The  broad  shil- 
lings of  Edward  VI.  were  used  in  playing  the  game  of  shuffle-board, 
and  were  familiarly  called  by  the  name  of  the  play.  The  game  wa.^ 
also  called  shove-groat,  and  is  alluded  to  in  II.  Henry  IV.,  ii.  4. 

Show,  the  outward,  seldom  jumpeth  with  the  heart,  Richard 
III.,  Hi.  1. 

Show,  a  street,  Coriolanus,  ii.  1. 

Shrewd  (shrewish).  Taming  of  the  Shrew,  i.  1,  2,  and  elsewhere. 

Shrewsbury,  scene  of  part  of  I.  Henry  IV. ;  rebel  forces  at,  /. 
Henry  IV.,  Hi.  2 ;  battle  of,  I.  Henry  IV.,  v.  3-5 ;  eve  of  the  battle, 
iv.  4  ;  offer  of  pardon  before  it,  v.  1 ;  reports  of  the  battle,  //.  Hen- 
ry IV.,  i.  1 ;  Northumberland's  failure  to  be  at,  II.  Henry  IV.,  ii.  3. 
It  is  one  hundred  and  forty  miles  northwest  of  London.  The  battle 
was  fought  July  23,  1403. 

Shrewsbury  clock,  fought  a  long  hour  by,  /.  Henry  IV.,  v.  4. 

Shrewsbury,  Earl  of.     See  Talbot. 

Shrieve  (sheriff),  AlVs  Well  that  Ends  Well,  iv.  3. 

Shrift,  a  short,  Richard  III.,  Hi.  4;  riddling  confession  makes 
riddling  shrift,  Romeo  and  Juliet,  ii.  3. 

Shroud  (protection),  Antony  and  Cleopatra,  Hi.  11  ot  13 ;  III. 
Heiiry  VI.,  iv.  3. 

Shrove-Tuesday,  fit  as  a  pancake  for,  AlVs  Well  that  Ends 
Well,  ii.  2.     The  English  peasantry  call  the  day  "  pancake  Tuesday." 

Shylock,  the  Jew  in  the  Merchant  of  Venice,  introduced  in  i.  3. 
Ilis  impassioned  appeal  in  the  first  scene  of  the  third  act,  "  Hath  not 
a  Jew  eyes,"  etc.,  is  the  only  place  where  Shakspere  seems  to  intend 
arousing  the  least  sympathy  for  the  usurer.  In  all  other  scenes  his 
meanness  and  avarice  are  dwelt  upon  almost  to  the  exclusion  of  his 
justifiable  resentment  at  the  insults  to  his  race.  He  hates  Antonio 
more  for  spoiling  his  business  than  for  reviling  his  religion ;  and  he 
would  gladly  see  his  only  child  dead  before  him  if  he  might  regain 
his  ducats.  There  seems  to  be  no  reason  to  believe  that  Shakspere 
intended  any  rebuke  to  the  Jew-hating  spirit  of  his  time. 

"  Hebler  does  not  hesitate  to  call  Shylock  a  comic  personage, 
whose  fate,  proportionately,  is  no  harder,  rather  milder,  than  that 
which  finally  befalls  other  comic  charactei's,  Falstaff,  for  example. 


INDEX  TO  SHAKSPERE'S   WORKS.  325 

Gervinus  is  vexed  that  '  vulgarity  and  madness  could  go  so  far  as  to 
make  a  martyr  out  of  this  outcast  of  humanity.'  A  martyr  he  cer- 
tainly is  not,  but  we  must  allow  extenuating  circumstances  in  his 
favor.  .  .  .  But  who  made  him  a  usurer  ?  .  .  ,  We  know  no  other 
answer  to  this  question  but  that  the  Christians  have  made  Shylock 
what  he  is.  We  do  not  mean  to  say  that  Shak<pere  intended  to  hint 
at  anything  of  the  kind,  although  the  temptation  to  draw  such  infer- 
ences lies  nearer  in  this  play  than  elsewhere  in  Shakspere.  Whether 
the  poet  intended  it  or  not,  Shylock,  in  his  hands,  has  become  the 
representative  of  Judaism  in  its  lowest  degradation,  and  this  degrada- 
tion has  undeniably  been  caused  by  centuries  of  political  and  social 
bondage." — Karl  Elze. 

Sibyl,  as  old  as,  Taming  of  the  Shrew,  u  2 ;  work  of  a,  Othello, 
Hi.  4. 

Sibylla  (the  sibyl),  Jlerchant  of  Venice,  i.  2. 

Sibyls,  the  nine,  of  Rome,  /.  Henry  VI.,  i.  2.  There  were  not 
nine  sibyls  of  Rome,  but  nine  books  offered  to  Tarquin  by  the  sibyl. 
The  number  of  all  the  sibyls  is  variously  stated  at  from  two  to 
twelve,  the  last  being  the  number  given  by  the  mediaeval  monks, 
who  ascribed  to  each  a  prophecy  of  Christ, 

Sicilia,  scene  of  a  part  of  A  Winter's  Tale. 

Sicilian  Xord,  a,  character  in  A  Winter's  Tale. 

Sicily,  King  of.     See  Reigxier. 

Sicinius  Velutus,  i  tribune  of  the  people,  character  in  Corio- 
lanus,  introduced  in  i.  J ;  Menenius  on,  ii.  1.  He  and  Brutus  are 
typical  politicians,  crafty,  cowardly,  dextrous,  and  vain  of  their 
authority^ 

Sick,  the,  Birone  sentenced  to  visit  and  cheer  them.  Love's  La- 
hour's  Lost,  V,  2, 

Sickness,  untimely,  7.  Henry  IV.,  iv.  1;  thrown  off,  Julius 
Ccesar,  ii.  1,  end  ;  leisure  for,  I  Henry  IV.,  iv.  1. 

Sic  spectanda  fides,  Pericles,  ii.  2.    Thus  faith  is  to  be  proved. 

Sidney,  Sir  Philip  (1554-1586),  quotation  from,  Merry  Wives 
of  Windsor,  Hi.'  3,  "  Have  I  caught  my  heavenly  jew^el,"  the  first 
line  of  a  song  in  "  Arcadia."  See  under  King  Lear  and  Ham- 
let. 

Siege  (seat,  rank).  Measure  for  Measure,  iv.  2 ;  Hamlet,  iv.  7  or 
4 ;  Othello,  i.  2, 

Siege,  envious,  of  Neptune,  Richard  II.,  ii.  1;  laugh,  to  scorn, 
Macheth,  v.  5. 

Sieges,  of  Anglers,  King  John,  ii.  1;  end  of  the,  of  Harfleur, 
Henry  V.,  Hi.  3 ;  of  Orleans,  /.  Henry  VI.,  i.  2,  4-6 ;  ii.  1,  2 ;  of 
Corioli,  Coriolanus,  i.  4. 


326  INDEX  TO  SHAKSPERE'S  WORKS. 

Sieve,  as  water  in  a,  Much  Ado  about  Nothing,  v.  1 ;  AlVs  Well 
that  Ends  Well,  i.  J;  a  vehicle  for  witches,  Macbeth,  i.  3. 

Sighs,  cooling  the  air  with,  The  Tempest,  i.  2 ;  to  drive  a  boat, 
Two  Gentlemen  of  Verona,  ii,  3 ;  of  Imogen,  Cymheline,  iv.  2; 
blood-drinking,  II.  Henry  VI.,  Hi.  2  ;  blood-sucking,  III.  Henry  VI., 
iv.  4  ;  to  shatter  all  his  bulk,  Hamlet,  ii.  i  ;  a  spendthrift,  Hamlet, 
iv.  7  or  4.  The  last  alluding  to  the  belief  that  sighing  consumes  the 
blood  ;  blows  a  man  up  like  a  bladder,  I.  Henry  I V.,  ii.  4  ;  a  battery 
of  sighs,  III.  Henry  VI.,  Hi.  L 

Sigh  no  more,  song,  JIuch  Ado  about  Nothing,  ii.  3. 

Sight,  annoyances  to,  King  John,  iv.  1 ;  more  impressive  than 
hearing,  Lucrece,  I.  1324. 

Sightless  (invisible),  Macbeth,  i.  5. 

Signs,  of  coming  trouble,  Richard  III.,  ii.  3 ;  in  the  clouds, 
Antony  and  Cleopatra,  iv.  12 ;  of  the  times,  Troilus  and  Cressida, 
i.  3.    See  Omens. 

Silence,  herald  of  joy,  Much  Ado  about  Nothing,  ii.  1 ;  in  whom 
commendable — reputation  for  wisdom  gained  by.  Merchant  of  Ven- 
ice, i.  1 ;  appeal  of.  As  You  Like  It,  i.  3 ;  offending  (flouts  me), 
Taming  of  the  Shrew,  ii.  1 ;  and  speech,  AlVs  Well  thai  Ends  Well, 
i.  1 ;  of  innocence,  A  Winter's  Tale,  ii.  2 ;  before  a  storm,  Hamlet, 
ii.  2;  not  proof  of  want  of  love,  Ki7ig  Lear,  i.  1;  intensifies  feeling, 
Venus  and  Adonis,  1. 331 ;  be  politic  with,  I.  Henry  VI.,  ii.  5  ;  speech 
in  dumbness,  A  Winter''s  Tale,  v.  2. 

Silence,  a  country  justice  in  II.  Henry  IV.,  first  appears  in  Hi. 
2.  He  is  a  great  admirer  of  Shallow,  is  very  dull  when  sober,  and 
very  boisterous  when  drunk. 

Silius,  character  in  Antony  and  Cleopatra,  introduced  in 
Hi.  1. 

Silly-cheat  (pocket- picking),  A  Wijiter's  Tale,  iv.  2. 

Silly  sooth  (simple  truth),  Twelfth  Night,  ii.  4. 

Silver,  pale  and  common  drudge,  Merchant  of  Venice,  Hi.  2. 

Silver,  name  of  the  spectre  of  a  hound.  The  Tempest,  iv.  1 ;  a. 
dog,  Taming  of  the  Shrew,  induction,  1. 

Silvia,  a  daring  and  witty  girl  in  the  Two  Gentlemen  of  Verona^ 
introduced  in  H.  4  /  described  by  her  father.  Hi.  1. 

Silvius,  a  shepherd  in  As  You  Like  It,  in  love  with  Phoebe,  in- 
troduced in  H.  4,  an  importunate  but  humble  and  long-suffering 
lover,  whom  no  repulses  can  drive  away  or  incite  to  reprisals. 

Similes,  the  most  unsavoury,  /.  Henry  IV.,  i.  2;  currish.  Tarn- 
mg  of  the  Shrew,  v.  2, 


INDEX  TO  SHAKSPERE'S   WORKS,  32T 

Simois,  a  river  that  flows  from  Mount  Ida  and  joins  the  Sca- 
mander  in  the  plain  of  Troy,  Lucrece,  lines  1437^  144^. 

Simonides,  King  of  Pentapolis,  character  in  Pericles,  introduced 
in  ii.  2,  father-in-law  of  the  prince. 

Simpcox,  Saunder,  an  impostor  in  //.  Henry  F/.,  introduced  in 
ii.  1,  who  pretends  to  have  received  his  sight  by  a  miracle.  His  wife 
appears  in  the  same  scene. 

Simple,  Slender's  servant  in  the  Merry  Wives  of  Wiridsor,  intro- 
duced in  the  first  scene. 

Simpleness,  and  duty,  Jlidsummer-Nighfs  Dream,  v.  1. 

Simplicity,  of  the  upright,  King  Lear,  i.  2,  end ;  how  green 
you  are  and  fresh.  King  John,  Hi.  4. 

Simular  (simulator,  counterfeit),  King  Lear,  Hi.  2. 

Siii(s),  men  of,  The  Tempest,  Hi.  3 ;  some  rise  by,  Jleasure  for 
Pleasure,  ii.  1 ;  results  of  pardoning.  Measure  for  Measure,  ii.  2 ; 
most  dangerous  temptation  to,  Measure  for  Measure,  ii.  3 ;  com- 
pelled— charity  in.  Measure  for  Measure,  ii.  4,'  comparison  of — be- 
come a  virtue — not  accidental — a  trade,  Measure  for  Measure,  Hi.  1  ; 
remorse  for,  and  fear  of  exposure — effect  of  one,  Pleasure  for  Meas- 
ure, V.  4  /  teach,  the  carriage  of  a  saint.  Comedy  of  Errors,  Hi.  2 ; 
cunning,  can  cover  itself.  Much  Ado  about  Nothing,  iv.  1 ;  in  chid- 
ing sin.  As  You  Like  It,  ii.  7 ;  allusion  to  the  dogma  of  original,  A 
Winter's  Tale,  i.  2,  "  The  imposition  hereditary  -ours ; "  gathering 
head,  II.  Henry  IV.,  Hi.  1 ;  struck  down  like  an  ox,  I.  Henry  VI., 
iv.  2 ;  will  pluck  on  sin,  Richard  III,  iv.  2 ;  mercy  emboldens,  Ti- 
mon  of  Athens,  Hi.  5 ;  resistance  against,  Hamlet,  Hi.  4;  apprehen- 
siveness  of,  Hamlet,  iv.  5  ov  2 ;  plate,  with  gold,  King  Lear,  iv.  6  ; 
one,  provokes  another,  Pericles,  i.  1 ;  Cymbeline,  i.  7,  '*  The  cloyed 
will,"  etc. ;  hidden  in  majesty,  Lucrece,  I.  93;  with  opportunity,  Lu- 
crece, I.  878 ;  suffering  for  others',  Lucrece,  I.  1478 ;  in  the  lovely. 
Sonnets  xciv.-xcvi. ;  some,  do  bear  their  privilege,  King  John,  i.  1  ; 
the  oldest,  committed  the  newest  way,  II.  Henry  1 V.,  iv.  4 ;  may  be 
absolved  in  English,  Henry  VIII.,  Hi.  1. 

Since  brass,  nor  stone,  nor  earth,  nor  boundless  sea,  Son- 
net Ixv. 

Since  I  left  you  mine  eye  is  in  my  mind,  Sonnet  cxiii. 

Sincerity,  in  love,  Henry  V.,  v.  2 ;  of  Coriolanus,  Coriolanus, 
Hi.  1,  "He  would  not  flatter  Neptune  for  hi-  trident."  etc. :  folly 
of,  Othello,  i.  1,  "But  I  will  wear  my  heart  u[)()ii  my  sleeve,"  eic. ; 
in  speech,  A  Winter's  Tale,  i.  1. 

Sincklo,  a  name  sometimes  given  to  the  first  player  ni  the  in- 


328  INDEX  TO  SHAKSPEME'S  WORKS, 

duction  to  the  Taming  of  the  Shrew,  and  also  to  one  of  the  hunts- 
men in  III.  Henry  VI.  It  is  thought  to  have  been  the  name  of  an 
actor  in  Shakspere's  company ;  but  "  Giles  Senclowe  is  mentioned  in 
the  '  Paston  Letters '  as  having  been  in  Scotland  with  Queen  Mar- 
garet." 

Sinel  (correctly,  Finel  or  Finlay),  Thane  of  Glamis,  father  of 
Macbeth,  Macbeth,  i.  3. 

Singing,  ridicule  of  Balthazar's,  Much  Ado  about  Nothing,  ii^. 
3;  Perdita's,  J.  Winter's    Tale,  iv.  3  or  4;  of  Lady  Mortimer,  Z 
Henry  IV.,  Hi.  1 ;  of  the  nightingale  and  wren,  Merchant  of  Venice, 
V.  1;  of  Edmund,  King  Lear,  i.  2;  sing  the  savageness  out  of  a 
bear,  Othello,  iv.  1 ;  the  singing-man  of  Windsor,  II.  Henry  IV.,  ii.  1. 

Sink-a-pace  (cinque-pas),  a  dance  whose  measures  are  in  fives, 
Twelfth  Night,  i.  3. 

Sinners,  at  the  gate  of  hell,  Macbeth,  ii.  3. 

Sinning,  more  sinned  against  than,  King  Lear,  Hi.  2. 

Sin  of  self-love  possesseth.  all  mine  eye,  Sonnet  Ixii. 

Sinon,  ///.  Henry  VI.,  Hi.  2 ;  Cymbeline,  Hi.  ^ ;  in  a  painting, 
Lucrece,  lines  1521,  1529.  The  Greek  who,  pretending  to  desert  to 
the  Trojans,  persuaded  them  to  admit  the  wooden  horse. 

Sir.  This  title  was  applied  to  curates,  as  Sir  Nathaniel,  Sir 
Hugh  Evans,  Sir  Oliver  Martext.  Sir  Topas,  said  to  have  properly 
belonged  to  such  ecclesiastics  as  had  taken  the  degree  of  bachelor  of 
arts,  or  dominus. 

Sirrah,  generally  used  to  an  inferior,  but  Poins  uses  it  to  the 
prince  in  /.  Henry  IV.,  i.  2, 

Sir-reverence  (saving  your  reverence).  Comedy  of  Errors,  Hi.  2, 

Sisters,  the  weird.    See  Witches. 

Sit  (live,  board),  at  ten  pounds  a  week,  Merry  Wives  of  Windsor, 
i.  3. 

Sith,  sithence  (since),  Measure  for  Measure,  iv.  1 ;  All's  Well 
that  Ends  Well,  i.  3  ;  King  Lear,  i.  1,  and  elsewhere. 

Siward,  Earl  of  Northumberland  and  general  of  the  English 
forces  that  fight  against  Macbeth.  He  was  the  brother  of  Duncan's 
wife.  His  son  Osberne  is  called  in  the  play  young  Siward,  They 
appear  in  v.  If.,  and  young  Siward  is  killed  by  Macbeth  in  v.  7.  This 
famous  earl  was  reported  by  tradition  the  descendant  of  a  bear.  He 
fought  with  Hardicanute  and  against  Godwin  on  the  side  of  the 
Confessor.  It  is  said  that  when  he  came  to  die  he  said  to  his  at- 
tendants :  "  Lift  me  up,  that  I  may  die  standing  like  a  soldier,  and 
not  grovelling  like  a  cow.     Put  on  my  coat  of  mail ;  cover  my  head 


INDEX  TO  SHAKSPERE'S   WORKS.  329 

with  ray  lielmet,  put  my  buckler  on  my  left  arm,  and  my  gilded  axe 
in  my  right  liand,  that  I  may  expire  in  arms." 

Sixpenny  strikers,  i.  Henry  1 V.,  iL  1.  Bullies  who  would 
knock  a  man  down  for  sixpence. 

Sizes  (allowances  of  money),  King  Lear,  U.  4. 

Skains-mates  (companion  scapegraces,  originally  brothers-in- 
arms), Romeo  and  Juliet,  ii.  4. 

Skill,  in  contrast  with  ignorance,  Hamlet,  v,  2. 

Skills  (signifies),  Taming  of  the  Shrew,  Hi.  2 ;  Twelfth  Nighty 
V.  1;  11.  Henry  VI.,  Hi.  L 

Skin,  silver,  laced  with  golden  blood,  J/ac6e^^,  ii.  3. 

Skin-coat,  your,  King  John,  ii.  1.    See  Hide. 

Skogan.     See  Scogan. 

Skull(s),  Romeo  and  Juliet,  iv.  1;  v.  3;  moralizing  on  a,  Hamlet,  v.  1. 

Slab  (glutinous),  Macbeth,  iv.  1. 

Slander,  will  stain  any  name.  Comedy  of  Errors,  ii.  1 ;  is  for- 
ever housed  when  it  gets  possession — avoid  occasion  for,  Comedy  of 
Errors,  Hi.  1 ;  power  of.  Much  Ado  about  Nothing,  Hi.  1;  on  Hero, 
3Iuch  Ado  about  Nothing,  Hi.  2,  3 ;  v.  1,  4 ;  changed  to  remorse. 
Much  Ado  about  Nothing,  iv.  1 ;  on  Diana,  AlVs  Well  that  Ends 
Well,  V.  3 ;  none  in  an  allowed  fool.  Twelfth  Night,  i.  5 ;  venomed 
spear  of,  Richard  11.,  i.  1 ;  poisoned  shot  of,  Hamlet,  iv.  1  or  Hi.  5  ; 
damned  nature  of,  Othello,  Hi.  3,  "  If  thou  dost  slander,"  etc. ;  to 
get  office,  Othello,  iv.  2 ;  sly,  Cymbeline,  i.  6 ;  sharpness  of,  Cymhe- 
line,  Hi.  4  ;  mark  of.  Sonnet  Ixx. ;  the  sting  of,  A  Winter's  Tale,  ii. 
3 ;  a.  coiner  of,  Troilus  arid  Cressida,  i.  3.    See  also  Calumny. 

Slanderers,  imprecation  on,  Othello,  iv.  2,  "A  halter  pardon 
him,"  etc. ;  condemn  themselves,  Sonnet  cxxi.  ;  base  newsmongers, 
I.  Henry  lY^,  Hi.  2. 

Slang.     See  Red-Lattice  Phrases. 

Slave(s),  that  pays,  Henry  V.,  ii.  1;  bred  a  dog,  Timon  of 
Athens,  iv.  3 ;  mechanics,  Antony  and  Cleopatra,  v.  2 ;  trusted  with 
a  muzzle  and  enfranchised  with  a  clog.  3Iuch  Ado  about  NotJiing, 
i,  3  ;  Shylock  on  the  state  of  a.  Merchant  of  Venice,  iv.  1. 

Sleave  of  care,  the,  Macbeth,  ii.  2.    Sleave  is  silk  thread. 

Sleep,  seldom  visits  sorrow.  The  Tempest,  ii.  1;  life  rounded 
with  a.  The  Tempest,  iv.  1 ;  an  after-dinner,  Measure  for  Measure, 
Hi.  1 ;  of  the  traveller.  Measure  for  Measure,  iv.  2 ;  shuts  sorrow's 
eye,  Midsummer-Nighf s  Dream,  Hi.  2 ;  the  image  of  death — trick 
played  upon  Sly  in.  Taming  of  the  Shrew,  induction,  1 ;  see  also 
Lord;  to  the  great  and  the  lowly,  //.  Henry  IV.,  Hi.  1 ;  dwell  upon 


330  INDEX  TO  SHAKSPERE'S  WOUKS, 

thine  eyes,  Borneo  and  Juliet,  ii.  2  ;  of  the  young,  Romeo  and  Juliet 
a.  S  ;  Troilus  and  Cressida,  iv.  2 ;  untroubled,  Julius  CcBsar,  ii.  1 ; 
murdered,  Macbeth,  ii.  2;  season  of  all  natures,  31acheth,  Hi.  4; 
secrets  uttered  in,  3Iacbetli,  v.  1;  Othello,  Hi.  3  ;  of  the  weary,  Cym- 
heline,  Hi.  6 ;  life  and  death  in,  Lucrece,  I.  402 ;  the  ape  of  deaths 
Cymbeline,  ii.  2. 

Sleeve,  a  pledge  of  love,  Troilus  and  Cressida,  iv.  4  ;  v.  2-4^ 

Sleeve-hand  (cuff),  A  Winter's  Tale,  iv.  3  or  4. 

Sleided  (unwrought)  silk,  Pericles,  iv.,  prologue. 

Slender,  Abraham,  an  awkward  country  fellow  in  the  Merry 
Wives  of  Windsor,  and  a  suitor  to  Anne  Page,  introduced  in  the 
first  scene. 

"  Slender  and  Sir  Andrew  Aguecheek  are  fools  troubled  with  an 
uneasy  consciousness  of  their  folly,  which  in  the  latter  produces  a 
most  edifying  meekness  and  docility,  and  in  the  former  awkward- 
ness, obstinacy,  and  confusion." — Macaulay, 

Slenderness,  hyperboles  on,  I.  Henry  IV.,  ii.  4 ;  "  Away,  you 
starveling,"  etc. ;  "  My  own  knee,"  etc.,  //.  Henry  lY.,  Hi.  2,  4'  See 
Leanness. 

*Slid  (by  God's  lid),  Merry  Wives  of  Windsor,  Hi.  4. 

'Slight  (by  his  light).  Twelfth  Night,  ii.  5.  and  elsewhere. 

Slighted  (pitched).  Merry  Wives  of  Windsor,  Hi.  5, 

Slip  (a  false  coin),  Romeo  and  Juliet,  H.  4  ;  quibble  on  the  word, 
Troilus  and  Cressida,  ii.  3,  "If  I  could  have  remembered  a  gilt 
counterfeit,  thou  wouldst  not  have  slipped  out  of  my  contempla- 
tion." 

Slops  (large  boulstered  trousers).  Much  Ado  about  Nothing,  Hi. 
2  ;  Romeo  and  Juliet,  ii.  4;  Henry  IV.,  i.  2. 

Sloth,  betrays  to  loss,  I.  Henry  IV.,  iv.  3 ;  sleep  of,  Cymbeline, 
Hi.  6. 

Slovenliness,  punishment  of,  by  fairies,  Merry  Wives  of  Wind- 
sor, V.  5, 

Slubber  (slight),  3ferchant  of  Venice,  H.  8. 

Slubber  (soil),  Othello,  i.  3. 

Sly,  Christopher,  a  tinker,  chief  character  in  the  induction  to  the 
Taming  of  the  Shrew.  A  lord  who  finds  him  dead-drunk  has  him 
carried  to  his  house  and  waited  on  when  he  awakes  as  if  he  were  the 
proprietor  of  the  place. 

"  Sly  is  of  the  family  of  Sancho  Panza,  gross  and  materialistic  in 
his  tastes  and  habits,  but  withal  so  good-humoured  and  self-con- 
tented, that  we  would  fain  leave  him  unvexed  by  higher  ideas  or 


INDEX  TO  SHAKSFERE'S  WORKS.  331 

aspirations  ;  all  the  pains  taken  to  delude  him  into  the  notion  that 
he  is  a  lord  will  not  make  him  essentially  other  than  '  Old  Sly's  son, 
of  Burton  Heath,'  who  has  run  up  so  long  a  score  with  the  fat  ale- 
wife  of  Wincot." — DowDEN. 

Small-pox,  allusion  to  marks  of,  Love's  Labow's  Lost,  v.  2, 
"  Face  fuU  of  O's." 

Smalus,  A  Winter's  Tale,  v.  1.     Apparently  a  prince  of  Libya. 

Smatch  (smack,  tincture ),  Julius  CcBsar,  v.  5  ;  II.  Henry  I V.,  i.  2. 

Smell(s),  an  ancient  and  fish-like.  The  Tempest,  ii.  2 ;  villainous, 
Merry  Wives  of  Windsor,  Hi.  5. 

Smile,  Jane,  mentioned  in  As  You  Like  It,  ii.  4. 

Smiles,  the  craft  of,  Richard  II.,  i.  4  /  of  Cassius,  Julius  CcBsar, 
i.  2  ;  of  Imogen,  Cymbeline,  iv.  2;  when  time  shall  serve,  Henry  Y., 
ii.  1;  and  tears.  King  Lear,  iv.  3 ;  king  of,  /.  Henry  IV.,  i.  3. 

Smiling,  with  millions  of  mischief  in  the  heart,  Julius  Ccesar, 
iv.  1 ;  one's  cheek  into  years.  Love's  Labour's  Lost,  v.  2 ;  smile  and 
murder  while  they  smile,  III.  Henry  VI.,  Hi.  2;  and  be  a  villain, 
Hamlet,  i.  5  ;  as  the  wind  sits.  King  Lear,  i.  4. 

Sm.ith,  the  weaver,  a  follower  of  Jack  Cade  in  //.  Henry  VI. 

Sm.itlifield,  now  a  part  of  London,  scene  of  //.  Henry  IV., 
iv.  7. 

Smoked  (discovered  or  suspected).  All's  Well  that  Ends  Well, 
Hi.  6  ;  iv.  1. 

Smulkin,  a  fiend.  King  Lear,  Hi.  4.     See  Mahu. 

Snail,  the,  Comedy  of  Errors,  ii.  2 ;  As  You  Like  It,  iv.  I ;  King 
Lear,  i.  5 ;   Venus  and  Adonis,  I.  1033. 

Snake,  the,  Midsummer- Night's  Dream,  ii.  2 ;  As  You  Like  It, 
iv.  3 ;  scotched  the,  3Iacbeth,  Hi.  2  ;  warmed  the.  III.  Henry  VI., 
Hi.  1.     See  Adder  and  Serpent. 

Snare,  taken  in  his  own.  Twelfth  Night,  v.  1,  "  That  thine  own 
trip  shall  be  thine  overthrow." 

Snare,  one  of  the  sheriff's  officers  in  II.  Henry  IV.,  ii.  1. 

Sneak-cup,  a,  I.  Henry  IV.,  Hi.  3.    One  who  baulks  his  glass. 

Sneap  (rebuke,  snub),  II.  Henry  IV.,  ii.  L 

Sneaping  (pinching,  nipping).  Love's  Labour's  Lost,  i.  1;  A 
Winter's  Tale,  i.  2. 

Sneck  up  (perhaps  from  "his  neck  up,"  that  is,  be  hanged). 
Twelfth  Night,  ii.  3. 

Snout,  Tom,  a  tinker,  character  in  Midsummer-Night's  Dream, 
introduced  in'i.  2.  He  is  cast  for  the  part  of  Pyramus's  father,  but 
appears  in  the  play  as  the  wall. 


332  INDEX  TO  SMAKSFERE'S    WORKS. 

Snow,  a  mockery  king  of,  Richard  II.,  iv.  1 ;  consecrated,  on 
Dian's  lap,  Timon  of  Athens,  iv.  3 ;  of  Taurus,  Midsummer-NighV & 
Dream,  v.  2 ;  a  little,  tumbled  about,  becomes  a  mountain,  King 
John,  Hi.  4  ;  in  harvest,  Richard  III.,  i.  4. 

Snuff,  took  it  in,  /.  Henry  IV.,  i.  3.  Snuff  was  made  of  aromatic 
substance  before  tobacco  was  used  for  it.  Here  there  is  a  quibble  on 
the  cant  use  of  the  phrase. 

Snug,  a  joiner,  character  in  Ilidsummer-Iiighfs  Dream,  intro- 
duced in  i.  2.  In  the  play  before  the  duke  he  takes  the  part  of  the 
lion,  and  explains  who  he  is,  that  the  ladies  may  not  be  frightened 
— "  a  very  gentle  beast  and  of  a  good  conscience." 

So  am  I  as  the  rich.  Sonnet  Hi. 

So  are  you  to  my  thoughts  as  food  to  life,  Sonnet  Ixxv. 

Society,  no  comfort  to  one  not  sociable,  Cymheline,  iv.  2. 

Softly-sprighted  man,  a,  3Ierry  Wives  of  Windsor,  i.  4. 

So  is  it  not  with  me  as  with  that  muse,  Sonnet  xxi. 

Sol,  the  glorious  planet,  like  a  king,  Troilus  and  Cressida,  i.  3. 

Solanio.     See  Salanio. 

Soldier(s),  of  Pharaoh,  Much  Ado  ahont  Nothing,  Hi.  3 ;  base 
for,  to  love.  Love's  Labours  Lost,  i.  2  ;  full  of  strange  oaths.  As  You 
Like  It,  a.  7 ;  jests  at  a  cowardly,  AlVs  Well  that  Ends  Well,  i.  1, 
"  Under  Mars,"  etc. ;  honour  of  a,  AlVs  Well  that  Ends  Well,  ii.  1 ; 
would  have  been  a,  but  for  those  vile  guns,  /.  Henry  IV.,  i.  3;  Hot- 
spur and  his  comrades,  /.  Henry  IV.,  iv.  1;  Falstaff's,  7.  Henry  IV., 
iv.  2 ;  a  braggart,  Henry  V.,  Hi.  6  ;  speaks  like  a,  Coriolanus,  Hi.  3  ; 
not  appreciated  in  peace,  Coriolanus,  iv.  7 ;  dreams  of  a,  Romeo  and 
Jidiet,  i.  4;  a  better,  Julius  Ccesar,  iv.  3  ;  a  daring,  JIacbeth,  Hi.  1; 
death  of  a,  Macbeth,  v.  7 ;  King  John,  v.  5 ;  III.  Henry  VI.,  ii.  3; 
your  sister  is  the  better,  King  Lear,  iv.  5 ;  little  blessed  with  soft 
phrase — adventures  of  a,  Othello,  i.  3  ;  one  fit  to  stand  by  Caesar — 
life  of,  Othello,  ii.  3 ;  endurance  of  a,  Antony  and  Cleopatra,  i.  4 ; 
should  brook  wrongs  as  little  as  gods,  Timon  of  Athens,  Hi.  5 ;  a 
brave,  I.  Henry  VI.,  Hi.  2;  unapt  to  weep,  /.  Henry  VI.,  v.  3 ;  a 
true,  hath  no  self-love,  II.  Henry  VI.,  v.  2. 

Soldiers,  introduced  on  the  stage  in  All's  Well  that  Ends  Well, 
King  John,  Henry  V.,  I.  Henry  VI.,  III.  Henry  VI.,  Richard  III, 
Coriolanus,  Titus  Andronicus,  King  Lear,  Antony  and  Cleopatra, 
Cymbeline,  JIacbeth. 

Soldiership,  theoretical.  Othello,  i.  L 

Soliloquies,  Hamlet,  i.  2 ;  ii.  2 ;  Hi.  1;  iv.  4;  King  Lear,  i.2  ; 
ii.  3  ;  Hi.  7  ;  iv.  1;  v.  2  ;  Othello,  i.3  ;  Hi.  3  ;  v.2  ;  Macbeth,  i.  5,  7  ; 


INDEX  TO  SHAKiSPERE'S    WORKS.  333 

ii,  1,  8 ;  Hi.  1;  Richard  HI.,  i.  i,  2 ;  Troilus  arid  Cress ida,  ii.  3  ; 
V.  10;  Romeo  and  Juliet,  ii.  3,  5 ;  Hi.  2 ;  iv.  3;  v.  1;  Timon  of 
Atheiis,  iv.  1,  3 ;  Julius  Ccesar,  Hi.  1;  Cymheline,  ii.  2,  5 ;  Hi.  2,  3, 
6;  iv.  1,  2 ;  v.  1;  Pericles,  i.  1,  2. 

Solinus,  Duke  of  Ephesus,  character  in  the  Comedy  of  Errors, 
introduced  in  i.  1. 

Solitude,  Two  Gentlemen  of  Verona,  v.  4. 

Solomon,  Love's  Labour^s  Lost,  i.  2  ;  iv.  3. 

Solon  (about  638-559  b.  c),  laws  of,  on  a  father's  rights,  Mid- 
summer-Nighfs  Dream,  i.  1. 

Solon's  happiness,  Titus  Andronicus,  i.  1  or  2.  "No  man  can 
be  pronounced  happy  till  he  is  dead." 

Solyman,  Sultan  (about  1495-1566),  Merchant  of  Veriice,  ii.  1. 

Some  glory  in  their  birth,  some  in  their  skill,  Sonnet  xci. 

Somerset,  John  Beaufort,  third  Earl  of,  afterward  first  Duke, 
character  in  I.  Henry  VI.  In  ii.  4.  he  calls  for  allegiance  to  the  red 
rose  of  Lancaster.  The  Somerset  of  the  second  part  is  his  brother. 
His  daughter,  Margaret  Beaufort,  became  Countess  of  Richmond 
and  mother  of  Henry  VII. 

Somerset,  Edmund  Beaufort,  fourth  Earl  of,  afterward  second 
Duke,  character  in  //.  Henry  VI.  He  was  for  some  time  chief  of 
the  king's  party,  and  was  accused  by  the  Duke  of  York  of  various 
offences  against  the  country,  was  arrested  and  imprisoned,  but  was 
afterward  restored  to  office.  He  held  the  offices  of  Regent  of  France 
and  Constable  of  England.  He  was  slain  at  St.  Alban's— 77.  Henry 
VI.,  V.  2 — and  is  said  in  the  first  scene  of  the  third  part  to  have 
fallen  by  the  hand  of  Richard,  afterward  King  Richard  III.  His 
son,  Henry,  who  succeeded  him,  was  taken  prisoner  at  Hexham  and 
beheaded  by  the  Yorkists.  His  second  son,  Edmund,  became  the 
fourth  duke,  and  is  the  Somerset  of  the  third  part. 

Somerset,  Edmund  Beaufort,  fourth  Duke  of,  character  in  111. 
Henry  VI.,  introduced  in  iv.  1.  He  commanded  a  force  at  Barnet, 
V.  2,  and  at  Tewksbury,  v.  4,  where  he  was  taken  prisoner,  v.  5.  He 
was  beheaded  two  days  later,  the  last  of  the  male  line  of  the  Beau- 
fortes.     He  was  a  son  of  the  Beaufort  of  the  second  part. 

Somerville,  Sir  John,  character  in  ///.  Henry  VI.,  introduced 
in  V.  1,  a  partisan  of  York. 

Some  say  thy  fault  is  youth.  Sonnet  xcvi. 

Somnambulism,  Macbeth,  v.  1. 

Son(s),  the  king  envies  Northumberland  his,  /.  Henry  IV.,  i.  1 ; 
his  grief  over  his  own,  Richard  II.,  v.  3  ;  I.  Henry  IV.,  i.  1 ;  Hi.  2 : 
22 


334  INDEX  TO  SHAKSPERE'S   WORKS. 

IV.  4,  6  ;  devoted  to  their  country,  Coriolanus,  i.  3 ;  dead  in  honour, 
Titus  A7idronicus,  Hi.  L 

Song(s),  old,  Twelfth  Night,  ii.  4;  Pericles,  i.,  chorus  ;  Othello, 
II'.  3 ;  soothing,  I.  Henry  IV.,  Hi.  1 ;  an  exquisite,  Othello,  ii.  3; 
popular,  A  Winter's  Tale,  iv.  3.     See  also  Music  and  Singing. 

Songs :  Come  unto  these  yellow  sands :  The  Tempest,  i.  2  ;  Full 
fadom  five,  The  Tempest,  i.  2 ;  While  you  here  do  snoring  lie,  The 
Tempest,  ii.  1 ;  Where  the  bee  sucks.  The  Tempest,  v.  1 ;  The  mas- 
ter, the  swabber.  The  Tempest,  ii.  2 ;  Farewell,  master.  The  Tem- 
pest, ii.  2 ;  Flout  'em  and  scout  'era,  The  Tempest,  Hi.  2 ;  Honour, 
riches,  marriage  blessing,  The  Tempest,  iv.  1 ;  Who  is  Silvia  ?  Two 
Gentlemen  of  Verona,  iv.  2 ;  To  shallow  rivers  (by  Marlowe),  Merry 
Wives  of  Windsor,  Hi.  1;  Whenas  I  sat  in  Babylon,  Merry  Wives 
of  Windsor,  Hi.  1 ;  Fortune,  my  foe  (old  song,  alluded  to),  Merry 
Wives  of  Windsor,  Hi.  3 ;  Fie  on  sinful  fantasy.  Merry  Wives  of 
Windsor,  v.  5  ;  Take,  oh,  take  those  lips  away  (authorship  uncertain). 
Measure  for  Measure,  iv.  1 ;  Sigh  no  more,  Much  Ado  about  Nothing, 
H.  3 ;  The  god  of  love,  Much  Ado  about  Nothing,  v.  2 ;  Pardon, 
goddess  of  the  night,  Much  Ado  about  Nothing,  v.  3 ;  On  a  day, 
alack  the  day.  Love's  Labours  Lost,  iv.  3 ;  When  daisies  pied  and 
violets  blue.  Love's  Labour's  Lost,  v.  2  ;  When  icicles  hang  by  the 
wall,\Loi"e's  Labour's  Lost,  v.  2 ;  You  spotted  snakes,  Midsummer- 
Nighfs  Dream,  ii.  2 ;  The  ousel  cock,  so  black  of  hue,  Midsummer- 
Nighfs  Dream,  Hi.  1;  Now,  until  the  break  of  day,  Midsummer- 
Night's  Dream,,  v.  1;  If  we  shadows  have  offended,  Midsummer- 
Night's  Dream,  v.  1 ;  Tell  me,  where  is  fancy  bred  ?  Merchant  of 
Venice,  Hi.  2 ;  Under  the  greenwood  tree,  As  You  Lihe  It,  ii.  5 ; 
Blow,  blow,  thou  winter  wind,  As  You  Like  It,  ii.  7 ;  0  sweet  Oli- 
ver (fragment  of  an  old  ballad),  As  You  Like  It,  Hi.  1 :  \\Tiat  shall 
he  have  that  killed  the  deer?  As  You  Like  It,  H\  2 :  It  was  a  lover 
and  his  lass.  As  You  Like  It,  -v.  3 ;  Then  is  there  mirth  in  heaven, 
As  You  Like  It,  v.  4;  Wedding  is  great  Juno's  crown,  As  You  Like 
It,  V.  4 ;  Fire,  fire,  cast  on  water— Jack,  boy !  ho  !  boy !— WTiere  is 
the  life  that  late  I  led— It  was  the  friar  of  orders  gray,  Taming  of 
the  Shrew,  iv.  1 ;  Was  this  fair  face  the  cause.  All's  Well  that  Ends 
Well,i.  3;  0  mistress  mine,  where  are  you  roaming?  Tivelfth  Night. 
ii.  3  (not  by  Shakspere) ;  snatches  of  old  popular,  Twelfth  Night.  H. 
3 ;  Hold  thy  peace — Three  merry  men — There  dwelt  a  man  in  Baby- 
lon— 0,  the  twelfth  day  of  December— Farewell,  dear  heart — His 
eyes  do  show — Shall  I  bid  him  go?  (the  last  three  are  from  Corydon's 
Farewell  to  Phyllis) — Come  away,  come  away.  Death,  Twelfth  Night, 


INDEX  TO  SHAKSPERE'S    WORKS.  335 

ii.  U;  Hey,  Robin,  Tuudftk  Night,  iv.  2  (not  by  Shak.spere) ;  I  ain 
gone,  sir,  Tivdfth  Night,  w.  2 ;  When  that  I  whs  a  little,  tiny  boy, 
Twelfth  Night,  v.  1  (not  by  Shakspere) :  When  daffodils  begin  to 
peer,  A  Winter's  Tale,  iv.  2  ov  3 ;  But  shall  I  go  mourn,  A  Winter's 
Tale,  IV.  2  or  S ;  Jog  on,  jog  on,  A  Wiriter's  Tale,  iv.  2  or  3  ;  Lawn 
as  white  as  driven  snow,  A  Winter's  Tale,  iv.  3  or  4;  Get  you  hence, 
A  Winter's  Tale,  iv.  3  or  4;  Will  you  buy  any  tape  ?  A  Winter's 
Tale,  iv.  3  or  4;  Do  nothing  but  eat,  II.  Henry  IV.,  v.  3;  Be  merry, 
be  merry,  II  Henry  IV.,  v.  3;  A  cup  of  wine,  II  Henry  IV.,  v.  3 ; 
Fill  the  cup,  //.  Henry  IV.,  v.  3;  Do  me  right,  //.  Henry  IV.,  v. 
3 ;  Auld  Robin  Hood,  //.  Henry  IV.,  v.  3 ;  Orpheus  with  his  lute, 
Henry  VIII,  Hi.  1;  Love,  love,  nothing  but  love,  Troilus  and  Cres- 
sida.  Hi.  1 ;  An  old  hare  hoar,  Romeo  and  Juliet,  ii.  4  ;  When  grip- 
ing grief,  Romeo  and  Juliet,  iv.  5  (by  Richard  Edwards);  of  the 
witches,  3Iacbeth,  Hi.  5,  the  song,  '"  Cofne  away,''  from  Middleton's 
"  Witch  "  is  used ;  To-morrow  is  St.  Valentine's  day,  Hamlet,  iv.  5 
or  2  ;  They  bore  him  barefaced  on  the  bier,  Hamlet,  iv.  5  or  2  ;  Artd 
will  he  not  come  again,  Hamlet,  iv.  5  or  2  ;  For  bonny  sweet  Robin, 
Hamlet,  iv.,  5  or  2  ;  How  should  I  your  true  love,  Hamlet,  iv.  5  or  2  ; 
In  youth  when  I  did  love,  Hamlet,  v.  2  (from  a  ballad  attributed  to 
Lord  Vaux) ;  Fools  had  ne'er  less  wit  in  a  year,  King  Lear,  i.  1 ; 
He  that  has,  and  a  little,  tiny  wit.  King  Lear,  Hi.  2 ;  Let  the  cana- 
kin  clink,  Othello,  ii.  3 ;  King  Stephen  was,  Othello,  ii.  3 ;  The  poor 
fool  sat,  Othello,  iv.  3  ;  Come,  thou  monarch  of  the  vine,  Antony  and 
Cleopatra,  ii.  7;  Hark,  hark,  the  lark,  Cymheline,  ii.  3;  Fear  no 
more  the  heat,  Cymheline,  iv.  2.  Have  I  caught  my  heavenly  jewel  ? 
(by  Sir  Philip  Sidney),  31erry  Wives  of  Windsor,  Hi.  3. 

Songs  and  Sonnets,  Book  of,  Merry  Wives  of  Windsor,  i.  1. 
A  popular  book  of  the  time,  by  the  Earl  of  Surrey  and  others. 

Sonnets,  the,  one  hundred  and  fifty-four  in  number,  were  first 
published  in  1609.  in  a  small  quarto,  including  also  the  Lover's  Com- 
plaint, by  Thomas  Thorpe,  who  probably  pirated  them.  They  were 
alluded  to  in  1598  by  Meres  as  "sugred  sonnets"  circulated  among 
Shakspere's  private  friends.  Two  of  them  were  published  in  the 
Passionate  Pilgrim  {q.  v.).  The  time  of  writing  may  have  extended 
over  several  years,  and  probably  did.  They  are  dedicated  to  W, 
H.,  but  to  whom  these  initials  belonged  is  still  a  mystery.  William 
Herbert,  Earl  of  Pembroke,  has  been  named,  the  first  folio  having 
been  dedicated  to  him  and  his  brother.  Some  have  supposed  the 
initials  to  be  those  of  the  Earl  of  Southamnton  {q.  v.)  reversed.  The 
first  one  hundred  and  twenty-six  are  addressed  to  a  man   much 


336  INDEX   TO  SHAKSPERE'S    WORKS. 

younger  than  the  writer  and  deeply  beloved  by  him.  The  remain- 
ing ones,  excepting  the  last  two,  are  addressed  to  a  woman,  dark- 
complexioned,  and  not  at  all  fair,  or,  it  would  seem,  virtuous  either, 
who  has  been  trifling  with  the  writer  and  the  friend  to  whom  the 
former  sonnets  are  addressed.  It  is  generally  supposed  that  they 
are  the  record  of  actual  experiences  of  the  poet,  though  it  is  possible 
that  they  are  dramatic  and  ideal.  On  this  point  Mr.  Halliwell- 
Phillips  says : 

''  The  words  of  Meres  "  ["  his  sugared  sonnets  among  his  private 
friends "]  "  and  the  insignificant  results  of  Jaggard's  efforts "  [to 
make  a  collection  of  Shakspere's  poems,  in  which  he  was  able  to  in- 
clude only  two  of  the  sonnets],  "  lead  to  the  inference  that  these 
strange  poems  were  an  assemblage  of  separate  contributions  made 
by  their  writer  to  the  albums  of  his  friends,  no  two  of  the  latter 
being  favoured  with  identical  compositions.  There  was  no  tradition 
adverse  to  a  belief  in  their  fragmentary  character  in  the  generation 
immediately  following  the  author's  death,  as  may  be  gathered  from 
the  arrangement  found  in  Benson's  edition  of  1640 ;  and  this  con- 
cludes the  little  real  evidence  on  the  subject  that  has  descended  to 
us.  It  was  reserved  for  the  students  of  the  present  century,  who 
have  ascertained  so  much  respecting  Shakspere  that  was  unsuspected 
by  his  own  friends  and  contemporaries,  to  discover  that  his  inner- 
most earnest  thoughts,  his  mental  conflicts,  and  so  on,  are  revealed 
in  what  would  then  be  the  most  powerful  lyrics  yet  given  to  the 
world.  But  the  victim  of  spiritual  emotions  that  involve  crimina- 
tory reflections,  does  not  usually  protrude  them  voluntarily  on  the 
consideration  of  society ;  and,  if  the  personal  theory  be  accepted,  we 
must  concede  the  possibility  of  our  national  dramatist  gratuitously 
confessing  his  sins  and  revealing  those  of  others,  proclaiming  his 
disgrace  and  avowing  his  repentance,  in  poetical  circulars  distributed 
by  the  delinquent  himself  among  his  most  intimate  friends.  There 
are  no  external  testimonies  of  any  description  in  favor  of  a  personal 
application  of  the  sonnets,  while  there  are  abundant  difficulties  aris- 
ing from  the  reception  of  such  a  theory.  Among  the  latter  is  one 
deserving  of  special  notice,  for  its  investigation  will  tend  to  remove 
the  displeasing  interpretation  all  but  universally  given  of  two  of  the 
poems — those  in  which  reference  is  supposed  to  be  made  to  a  bitter 
feeling  of  personal  degradation  allowed  by  Shakspere  to  result  from 
his  connection  with  the  stage.  Is  it  conceivable  that  a  man  who 
encouraged  a  sentiment  of  this  nature,  one  which  must  have  been 
accompanied  with  a  distaste  and  contempt  for  his  profession,  would 
have  remained  an  actor  years  and  years  after  any  real  necessity  for 
such  a  course  had  expired  ?  .  .  .  When,  in  addition  to  this  volun- 
tary long  continuance  on  the  boards,  we  bear  in  mind  the  vivid  in- 
terest in  the  stage,  and  in  the  purity  of  the  acted  drama,  which  is 
exhibited  in  the  well-kno^vn  dialogue  in  Hamlet,  and  that  the  poet's 
last  wishes  included  affectionate  recollections  of  three  of  his.  fellow- 
players,  it  is  difficult  to  believe  that  he  could  have  nourished  a  reaJ 
antipathy  to  his  lower  vocation.     It  is,  on  the  contrary,  to  be  in- 


INDEX  TO  SHAKSPERE'S   WORKS.  337 

ferred  that,  however  greatly  he  may  have  deplored  the  unfortunate 
estimation  in  which  the  stage  was  held  by  the  immense  majority  of 
his  countrymen,  he  himself  entertained  a  love  for  it  that  was  too 
sincere  to  be  repressed  Ijy  contemporary  disdain." 

Sonnets  to  Sundry  Notes  of  Music,  title  of  the  latter  part  of 
the  Passionate  Pilgrim. 

So  now  I  have  confessed  that  he  is  thine,  Sonnet  cxxxiv. 

Sonties  (saints  or  sanctities),  Merchant  of  Venice,  ii.  2. 

So  oft  have  I  invoked  thee  for  my  muse,  Sonnet  Ixxviii. 

Soon  at  night  (very  soon),  Measure  for  Measure,  i.  5  ;  Comedy 
of  Errors,  i.  2. 

Soothsayer,  a,  character  in  Julius  Ccesar,  appears  in  i.  2, 
where  he  warns  Caesar  to  beware  the  Ides  of  March,  and  in  later 


Soothsayer,  a,  character  in  Antony  and  Cleopatra,  introduced 
in  i.  2 ;  prophesies  to  Antony,  ii.  3. 

Soothsayer,  a,  character  in  Cymbeline,  introduced  in  iv.  2^ 
where  he  speaks  once  only,  and  foretells  success  to  the  Romans ; 
he  appears  again  as  a  prisoner  in  v.  5,  where  he  interprets  an  oracle 
for  Cymbeline. 

Sophistry,  in  self- justification,  Julius  Ccesar,  ii.  1. 

Sophy  (Shah),  the,  Merchant  of  Venice,  ii.  1 ;  Twelfth  Night, 
ii.  5 ;  Hi.  4- 

Soporifics,  Othello,  Hi.  S,  "  Not  poppy  nor  mandragora,"  etc. 

Sorcerers,  Ephesus  full  of.  Comedy  of  Errors,  i.  2. 

Sorcery,  The  Tempest,  Hi.  2,  see  Magic  ;  //.  Henry  VI.,  i.  4. 

Sorrow,  patience  under,  Much  Ado  about  Nothing,  v.  1 ;  here  I 
and,  sit,  Kirig  John,  Hi.  1 ;  canker,  King  John,  Hi.  4  ;  of  the  queen, 
Richard  II.,  Hi.  4;  of  the  king,  Richard  II,  iv.  1 ;  for  the  dead 
king,  //.  Henry  IV,,  v.  2;  breaks  seasons,  Richard  III,  i.  4,'  for 
the  dead,  Richard  III,  iv.  4;  a  golden,  Henry  VIII.,  ii.  3 ;  con- 
cealed, Titus  Andronicus,  H.  4  or  5  ;  more  in,  than  anger,  Hamlet, 
i.2 ;  each  must  bear  his  own,  Hamlet,  Hi.  2,  "  Why  let  the  stricken," 
etc. ;  a  rarity  most  beloved.  King  Lear,  iv.  3  ;  heavenly,  Othello,  v. 
2 ;  odd  tricks  of,  Antony  and  Cleopatra,  iv.  2  ;  doubled  by  sight  of 
unattainable  relief,  Lucrece,  I.  III4.    See  Grief,  Pain,  Mourning. 

Sorrows,  come  not  singly,  Hamlet,  iv.  5  ox  2,7  ;  Pericles,  i.  4- 

Sort  (set),  Richard  II.,  iv.  1 :  Richard  III.,  v.  3. 

Sort  and  suit  (rank  and  following),  men  of,  Measure  for 
Measure,  iv.  4- 

So  shall  I  live  supposing  thou  art  true,  So7met  xciii. 


338  INDEX  TO  SEAKSPEUE'S  WOUKS. 

Sossius,  Antony  and  Cleopatra,  Hi.  L 

Sot  (fool),  Merry  Wives  of  Windsor,  Hi.  1 ;  Twelfth  Night,  i.  S» 

Soto,  Taming  of  the  Shrew,  induction,  1.  A  character  in  "  Wo« 
man  Pleased,"  by  Beaumont  and  Fletcher. 

Soul(s),  give  up  the  body  rather  than  the,  Measure  for  Measure, 
ii.  Jf. ;  an  evil,  producing  holy  witness.  Merchant  of  Venice,  i.  3 ;  the 
clothes  the,  AWs  Well  that  Ends  Well,  ii.  5 ;  disputes  with  sense, 
Twelfth  Night,  iv.  3 ;  the  brain  the  dwelling  of  the.  King  John,  v. 
7  ;  burden  of  a  guilty,  Richard  II.,  i.  3  ;  future  of  the,  Richard  II., 
Hi.  1 ;  sold  to  the  devil,  /.  Henry  lY.,  i.  2 ;  grows  with  the  body, 
Hamlet,  i.  3 ;  invulnerable,  Hamlet,  i.  4;  prophetic,  Hamlet,  i.  5  ; 
in  bliss,  thou  art  a.  King  Lear,  iv.  7 ;  spotted,  Lucrece,  I.  719  ;  in  a 
dishonoured  body,  Lucrece,  I.  1169  ;  a  true.  Sonnet  cxxv. ;  its  fading 
mansion.  Sonnet  cxlvi. ;  all,  were  forfeit  once.  Measure  for  Measure, 
ii.  2 ;  punishment  of  departed.  Measure  for  Measure,  Hi.  1,  "  Ay, 
but  to  die,"  etc. ;  Othello,  v.  2,  "  Blow  me  about  in  winds,"  etc. ;  har- 
mony in  immortal,  Jlerchant  of  Venice,  v.  1 ;  if,  fly  in  the  air,  and 
be  not  fixed,  Richard  III,  iv.  4-    See  Transmigration  of  Souls. 

Sound  and  fury,  life  full  of,  JIacbeth,  v.  5. 

Sources  :  Few  of  the  plots  of  the  plays  were  invented  by  Shak- 
spere,  possibly  none,  though  there  are  some  for  which  no  originals 
have  been  found.  Many  of  the  stories  are  very  old,  and  had  ap- 
peared in  several  versions  and  languages ;  many  were  already  famil- 
iar to  English  audiences  of  that  day.  They  were,  for  the  most  part, 
bald  narrations  of  incidents,  dull  plays,  or  simple  ballads.  Under 
the  name  of  each  play  will  be  found  mention  of  the  principal  source 
or  sources  drawn  upon.  Below  is  given  an  alphabetical  list  of  them 
under  the  names  of  authors,  or,  in  cases  where  the  author's  name  is 
not  known  of  the  novel,  play,  or  story  : 

Ariosto.  The  story  of  Ariodanto  and  Genevra,  from  his  "  Or- 
lando Furioso,"  which  was  known  in  an  English  translation  by  Sir 
John  Harington  (1591),  resembles  that  of  Hero  in  3Iuch  Ado  about 
Nothing.  The  "  Search  for  the  Island  of  Lampedusa,"  from  the 
same  work,  has  a  description  of  a  storm  at  sea,  which  has  been  lik- 
ened to  that  in  The  Tempest. 

"Barlaam  and  Josephat,"  is  a  middle-age  Greek  romance  of 
about  A.  D.  800,  in  which  appeared  the  story  of  the  caskets  (Mer- 
chant of  Venice)  for  the  first  time,  so  far  as  is  known. 

Bale,  Bishop.  "  The  Pageant  of  Kynge  John,"  by  Bishop  Bale, 
was  written  about  1550.  See  below  "  Troublesome  Raigne  of  King 
John." 


INDEX  TO  SHAKSPERE'S  WORKS.  339 

Bandello.  Twelfth  Night  is  supposed  to  be  founded  mediately 
or  immediately  on  his  novel  "Nicuola,"  the  original  of  "  Apollonius 
and  Silla."  See  Rich,  His  story  of  "  S.  Timbreo  di  Cardona  "  has 
some  features  and  names  in  common  with  Much  Ado  about  Nothing. 
See  also  Belleforest,  Brooke,  Painter,  and  Da  Porto. 

Barc^ley,  Sir  Richard.  His  "  Felicity  of  Man  "  (1598)  has  an 
"  Account  of  Timon." 

Belleforest  published  "Histoires  Tragiques,"  translations,  in 
which  was  the  "  Hystorie  of  Hamblet,"  from  Bandello. 

Boccaccio.  The  story  of  the  wager  in  Cymheline  is  found  in 
that  of  "  Bernabo  da  Genova,"  and  AlVs  Well  that  Ends  Well  is 
drawn  from  his  story  of  "  Giglietta  di  Nerbona." 

Brooke,  or  Broke,  Arthur,  is  the  supposed  author  of  the  poem 
"Romeus  and  Juliet,"  after  Bandello. 

Caxton,  "  Recuyell  of  the  Historyes  of  Troye  "  (circa,  1476),  was 
consulted,  perhaps,  for  Troilus  and  Cressida. 

Chaucer,  Geoffrey.  His  "  Troylus  and  Cryseyde "  may  have 
been  referred  to  by  Shakspere  in  writing  his  drama. 

Chettle.    See  Wolsey,  below. 

CiNTHio,  GiRALDi.  His  "  Hccatommithi "  has  a  story  of  a  Moorish 
captain  that  seems  to  be  a  version  of  the  one  on  which  Othello  is 
founded.    See  Whetstone. 

Da  Porto  Luigi,  published  in  1535  an  Italian  novel  telling  the 
story  of  Romeo  and  Juliet  for  the  first  time,  so  far  as  is  known, 
and  the  story  was  retold  by  Bandello  in  1554. 

"Famous  Victories  of  Henry  Y..  the,  containing  the  Hon- 
ourable Battell  of  Agincourt,"  a  play  written  between  1580  and 
1588,  furnished  the  outlines  of  the  two  parts  of  Henry  IV.  and 
Henry  V. 

FioRENTiNO,  Giovanni,  or  S.  Giovanni,  of  Florence.  The  inci- 
dent of  the  buck-basket  in  the  3Ierry  Wives  of  Windsor  is  in  his 
"  II  Pecorone,"  as  well  as  the  circumstance  of  taking  the  husband 
into  confidence.  "  II  Pecorone  "  also  has  the  story  of  the  bond  used 
in  the  Merchant  of  Venice. 

Fox,  John.  His  "  Book  of  Martyrs "  (1563)  contains  a  passage 
that  was  probably  before  the  writer  of  the  first  scene  of  the  fifth  act 
of  Henry  VIII. 

Geoffrey  of  Monmouth,  who  wrote  in  the  twelfth  century,  told 
the  story  of  Lear  and  his  three  daughters. 

"  Gernutus,  the  Jew,"  is  the  name  of  an  old  ballad  giving  the 
story  of  the  bond  that  is  used  in  the  Merchant  of  Venice. 


340  INDEX  TO  SHAKSPERE'S  WORKS. 

"  Gesta  Romanorum  "  is  an  old  collection  of  stories  in  which  the 
story  of  the  caskets  used  in  the  Merchant  of  Venice  and  the  history 
of  King  Lear  are  related. 

"  Gl'  Ingannati  "  ("  The  Deceived  "),  an  Italian  play  by  an  un- 
known author,  strongly  resembles  Twelfth  Night. 

Goulart's  "Admirable  and  Memorable  Histories"  contains 
stories  resembling  those  of  the  Comedy  of  Errors  and  Measure  for 
Measure.  It  also  gives  the  story  of  a  trick  played  on  an  artisan  by 
Philip  the  Good,  Duke  of  Burgundy,  evidently  the  original  of  the 
plot  of  the  induction  to  the  Taming  oj  the  Shrew. 

GowER,  John:  Apollonius  of  Tyre,  from  his  "  Confessio  Amantis," 
forms  the  basis  of  Pericles,  in  which  Govver  is  introduced  as  the 
chorus.  There  was  a  version  of  the  story  in  Laurence  Twyne's 
*'  Patterne  of  Painefull  Adventures  "  (157G). 

Greexe,  Robert.  His  "  Pandosto :  The  Triumph  of  Time " 
(1588),  afterward  called  "  The  History  of  Dorastus  and  Fawnia,"  fur- 
nished the  material  for  A  Winter's  Tale.  He  is  also  the  supposed 
author  of  the  old  play  "  Taming  of  a  Shrew."  In  one  of  his  works 
he  refers  to  Shakspere  as  "  an  upstart  crow  beautified  with  our  feath- 
ers— in  his  own  conceit  the  only  shake-scene  in  the  country." 

Hall,  Edward,  an  early  historian  whose  chronicles  were  proba- 
bly consulted.  He  wrote  of  the  "  Union  of  the  two  noble  and  illus- 
trate families  of  Lancastre  and  York  "  (1548). 

Harington.    See  Ariosto,  above. 

HiGGiNs,  John,  author  of  "  How  Queen  Cordila  in  despair  slew 
herself,  the  year  before  Christ  800,"  printed  in  "  The  Mirror  for 
Magistrates  "  (1587),  and  perhaps  referred  to  for  King  Lear. 

Holinshed,  Raphael,  wrote  "  Chronicles  of  Englande,  Scotlande, 
and  Irelande  "  (1577),  which  were  largely  drawn  upon  by  Shakspere 
in  the  English  historical  plays,  and  in  Cymbeline,  31acbeth,  and 
Ki7ig  Lear. 

Lodge,  Thomas,  a  dramatist  and  novelist,  was  the  author  of 
"Rosalynde:  Euphues'  Golden  Legacie "  (1592),  which  furnished 
the  plot  of  As  You  Like  It. 

Lucian,  a  Greek  satirical  writer,  teUs  the  story  of  2\mon  of 
Athens,  and  was  one  of  Shakspere's  authorities. 

Lydgate,  "  Historye,  Sege,  and  Dystruccion  of  Troye  "  (1513). 

Monstrelet,  Enguerrand  de,  a  French  chronicler,  1390-1453 : 
his  account  of  the  negotiations  of  Charles,  King  of  Navarre,  with 
the  King  of  France  for  the  Duchy  of  Nemours,  may  have  furnished 
a  hint  for  Love's  Labour's  Lost. 


INDEX  TO  SHAKSPERE'S  WORKS.  341 

Montaigne,  Michel.  The  ideal  commonwealth  of  Gonzalo  in 
The  Temped  is  from  Montaigne,  whose  works  were  translated  into 
English  by  Florio  in  1603.  A  copy  of  this  translation,  containing 
Shakspere's  autograph,  now  in  the  British  Museum,  is  the  only  book 
that  is  known  to  have  been  owned  by  him. 

MoNTEMAYOR :  his  '•  Diana "  contains  the  story  of  the  "  Shep- 
herdess Felismena,"  from  which  some  part  of  the  plot  of  Tivo  Gen- 
tlemen of  Verona  is  supposed  to  have  been  drawn.  The  resemblance 
is  not  close. 

North,  Sir  Thomas,  translated  Plutarch's  "  Lives  "  from  a  French 
version  into  English  (1579),  and  his  works  undoubtedly  furnished 
Shakspere  with  materials  for  Coriolanus,  Timon  of  Athens,  Jtdkis 
Ccesar,  and  Antony  and  Cleopatra.  "  The  Life  of  Theseus "  and 
"  The  Life  of  Pericles "  also  served  in  the  Midsummer- Nighfs 
Dream  and  in  Pericles. 

"  Northern  Lord,"  the,  a  ballad,  has  the  story  of  the  pound  of 
flesh,  resembling  that  in  the  Mercha^ii  of  Venice. 

Ovid.  Prospero's  speech  to  the  fairies  in  The  Tempest,  v.  1,  is 
imitated  from  Medea's  in  Ovid,  and  many  expressions  in  it  are 
found  in  an  old  translation  by  Golding  (1565-87). 

Painter,  William.  His  " Palace  of  Pleasure "  (1566-67)  has  the 
story  of  "Rhomeo  and  Julietta,"  from  Bandello,  "Giletta  of  Nar- 
bona,"  translated  from  Boccaccio,  original  of  All's  Well  that  Ends 
Well,  and  "  The  Life  of  Timon." 

Plautus.  His  "  Mencechmi  "  was  translated  by  W.  W.  (William 
Warner  ?),  1595,  and  resembles  the  Comedy  of  Errors. 

Plutarch.    See  North. 

Rich,  Barnaby,  told  the  story  of  "ApoUonius  and  Silla,"  on 
which  Twelfth  Night  is  based,  in  a  collection  called  "  Farewell  to 
the  Militarie  Profession  "  (1581). 

Saxo  Grammaticus,  author  of  a  "  Historia  Danica,"  in  which  the 
story  of  Hamlet  appeared,  wrote  about  the  end  of  the  twelfth  cen- 
tury.   See  Belleforest. 

"  Shrewd  and  Curst  Wife  Lapped  in  Morel's  Skin,  The,"  is 
an  old  poem,  slightly  resembling  The  Tami7ig  of  the  Shreiv. 

Sidney,  Sir  Philip.  His  "Arcadia"  (1590)  has  a  story,  "The 
Paphalgonian  Unkind  King,"  resembling  that  of  Gloster  and  his 
sons  in  King  Lear> 

"  Taming  of  a  Shrew,  The,"  is  an  old  play  of  unknown  author- 
ship, on  which  The  Taming  of  the  Shreiv  was  founded. 

"  Troublesome  Raigne  of  King  John,  The,"  a  play  by  an  un- 


342  INDEX  TO  SHAKSPERE'S  WORKS. 

known  author,  intervened  between  Bishop  Bale's  drama  and  that  of 
Shakspere,  which  is  thoroughly  remodelled  from  it. 

"  True  Chronicle  History,  The,  of  King  Leir  and  his  Three 
Daughters,"  is  an  old  play,  written  about  1593. 

Twyne,  Laurence.    See  above,  under  Gower. 

"  Waking  Man's  Dream,  The,"  is  in  a  fragment  of  an  old  book  of 
stories  conjectured  to  be  a  collection  by  Richard  Edwards,  published 
in  1570.  In  it  is  a  version  of  the  story  of  "Philip,  the  Good  Dnl  i 
of  Burgundy,"  already  referred  to  under  Goulart  as  the  original  ol 
the  plot  of  the  induction  to  the  Taming  of  the  Shrew. 

Whetstone,  George.  His  "  Promos  and  Cassandra  "  (1578)  re- 
sembles Measure  for  Measure.  It  was  founded  on  a  story  by  Giraldi 
Cinthio.  and  was  first  written  by  Whetstone  in  a  play. 

Wolsey,  Cardinal,  a  drama  by  Henry  Chettle  and  others  (about 
1601),  probably  furnished  some  suggestions  for  King  Henry  VIII. 

"  York  and  Lancaster,  First  Part  of  the  Contention  between 
the  Two  Famous  Houses  of,  with  the  Death  of  the  Good  Duke 
Humphrey,"  etc.,  and  the  "True  Tragedie  of  Richard,  Duke  of 
Yorke,"  and  the  "  Death  of  Good  King  Henrie  the  Sixt,"  are  the  old 
plays  on  which  the  second  and  third  parts  of  Henry  VI.  are  founded. 
It  is  uncertain  whether  they  were  written  by  Shakspere  himself,  but 
it  is  highly  improbable  that  they  were,  and  doubtful  whether  the 
old  plays  came  from  the  same  hand. 

Souse  (to  attack  violently).  King  John,  v.  2. 

South,  the  foggy.  As  You  Like  It,  Hi.  5;  Cymbeline,  ii.  3 ;  the 
sweet.  Twelfth  Night,  i.  1 ;  the  dew-dropping,  Romeo  and  Juliet, 
1.  Jf. ;  the  spongy,  Cymbeline,  iv.  2. 

Southam,  III.  Henry  YI.,  v.  1. 

Southampton,  a  seaport  of  Hampshire,  scene  of  a  part  of 
Henry  V. 

Southampton,  Henry  Wriothesly,  third  Earl  of,  to  whom  the 
Venus  and  Adonis  and  Lucrece  were  dedicated,  was  a  favourite  of 
Queen  Elizabeth  until  his  marriage.  He  took  part  in  the  rebellion 
of  Essex,  was  condemned  for  high  treason,  and  kept  in  the  Tower 
till  the  queen's  death.  He  died  in  1524.  Some  suppose  that  the 
Sonnets  are  also  dedicated  to  him,  his  initials  being  simply  reversed. 
For  this,  see  Sonnets. 

South  Sea,  of  discovery,  a.  As  You  Like  It,  Hi.  2. 
Southwark,  now  a  part  of  London,  scene  of  II.  Henry  VI., 
iv.  8. 

Southwell,  John,  or  Thomas,  a  priest  in  II.  Henry  VI.,  intro- 


INDEX  TO  SHAKSPERE'S   WORKS,  343 

duced  in  L  4.  He  was  priest  and  canon  of  St.  Stephen's  in  West- 
minster.    He  died  in  the  Tower  before  the  time  for  his  execution. 

Sowl  (pull),  Coriolanus,  iv.  5. 

Sowter  (cobbler),  name  of  a  hound,  Twelfth  Night,  ii.  6. 

Spain,  Comedy  of  Errors,  Hi.  2  ;  Love's  Labour's  Lost,  i.  L 

Span-counter,  //.  Henry  VL,  iv.  2.  A  game  in  which  the  sec- 
ond player  won  by  throwing  his  counter  or  coin  within  a  span  of  that 
of  the  first. 

Spaniel,  love  like  a,  Two  Gentlemen  of  Verona,  iv.  2 ;  to  plaj 
i^iQ,  Midsummer-Nighfs  Dream,  H.  2 ;  Henry  VIII.,  v.  2;  Antony 
an(P  Cleopatra,  iv.  10. 

Sparrow,  Philip,  Kifig  John,  i.  1.  The  sparrow  was  called 
Philip  because  its  note  was  thought  to  sound  like  the  name ;  care  of 
Providence  for  the.  As  You  Like  It,  ii.  3  ;  Hamlet,  v.  2. 

Spavins,  Taming  of  the  Shrew,  Hi.  2 ;  Henry  VIII.,  i.  3. 

Speaking,  to  the  purpose,  A  Winters  Tale,  i.  2,  "  1  have  spoke ;  " 
Perdita's,  iv.  3  or  4.;  is  for  beggars,  Troilus  and  Cressida,  Hi.  3. 

Spectacles,  a  pair  of,  Troilus  and  Cressida,  iv.  4. 

Speculation  (vision),  no,  in  those  eyes,  Macbeth,  Hi.  4;  turns 
not  to  itself  till  it  hath  travelled,  Troilus  and  Cressida,  Hi.  3. 

Sped  (finished),  Taming  of  the  Shrew,  v.  2,  end. 

Speech,  free.  Taming  of  the  Shrew,  iv.  3  ;  too  much,  AlVs  Well 
that  Ends  Well,  i.  1 ;  a,  warlike.  King  John,  ii.  1  or  2 ;  daggers  in, 
Hamlet,  Hi.  2;  by  the  card,  Hamlet,  v.  1;  rude  in,  Othello,  i.  3; 
wild,  Troilus  and  Cressida,  i.  3 ;  'tis  a  kind  of  good  deed  to  say 
well,  and  yet  words  are  no  deeds,  Henry  VIII.,  Hi.  2 ;  one  excel- 
lently well  penned.  Twelfth  Night,  i.  5 ;  sweet,  A  Winter's  Tale ; 
Hotspur's,  imitated  by  the  valiant,  II.  Henry  IV.,  ii.  3. 

Speed  (success),  A  Winter's  Tale,  Hi.  2. 

Speed,  the  keen-witted  servant  of  Valentine  in  the  Two  Gentle- 
men of  Vej'ona,  introduced  in  i.  L 

Spells,  I.  Henry  VI.,  v.  4;  Merry  Wives  of  Windsor,  iv.  2; 
Antony  arid  Cleopatra,  iv.  10.    See  Chaems, 

Spendthrift.     See  Extravagance, 

Spenser,  Passionate  Pilgrim,  viii. 

Sper  (bar),  Troilus  and  Cressida,  prologue. 

Spet  (old  past  of  spit),  Merchant  of  Venice,  i.  3. 

Sphere,  to  be  in  too  high  a,  Antony  and  Cleopatra,  ii.  7. 

Spheres,  discord  in  the,  As  You  Like  It,  ii.  7  ;  music  from  the, 
Twelfth  Night,  Hi.  1 ;  spherical  predominance,  King  Lear^  i.  2,  See 
Astrology. 


344  INDEX  TO  SHAKSPERE'S  WORKS. 

Spider(s),  the  painter  plays  the,  Merchant  of  Venice,  Hi.  2  ;  in 
the  cup,  A  Winter's  Tale,  ii.  i  ;  a  bottled,  Richard  III.,  i.  3  ;  iv.  4  ; 
supposed  to  suck  up  venom,  Richard  II.,  Hi.  2 ;  -like,  Henry  VIII., 
i.  1 ;  a  brain  more  busy  than  the,  //.  Henry  VI.,  Hi.  1. 

Spinster,  a,  on  a  wife's  duty — reasons  for  being  a.  Comedy  of 
Errors,  ii.  1. 

Spirits  (courage,  disposition),  for  anything  not  dishonourable, 
Pleasure  for  31easure.  Hi.  1 ;  coy  and  wild.  Much  Ado  about  Noth- 
ing, Hi.  1 ;  undaunted,  in  a  dying  breast,  /.  Henry  VI.,  Hi.  2  ;  wan- 
ton, Troilus  and  Cressida,  iv.  5 ;  high,  before  death,  Romeo  and 
Juliet,  V.  3 ;  I  see  there's  mettle  in  thee,  Othello,  iv.  2.  • 

Spirits  (souls),  finely  touched  to  fine  issues,  Jleasure  for  Meas- 
ure, i.  1 ;  the  delighted,  see  Delighted  ;  a  thousand  in  one  breast, 
Richard  II.,  iv.  1 ;  cannot  be  kept  in  bondage,  Julius  Ccesar,  ^^.  1  ; 
that  gallant,  hath  aspired  the  clouds,  Romeo  and  Juliet,  Hi.  1. 

Spirits  (of  the  air),  in  a  cloven  pine,  The  Tempest,  i.  2 ;  from 
the  vasty  deep,  /.  Henry  IV.,  Hi.  1 ;  from  under  earth,  I.  Henry  VL, 
V.  3 ;  II  Henry  VI,  i.  2 ;  ii.  1 ;  of  peace,  Henry  VIII,  iv.  2 ;  that 
tend  on  mortal  thoughts,  Macbeth,  i.  5  ;  the  Martii,  or  spirits  of  re- 
venge, the  authors  of  murders ;  black  and  white,  red  and  gray,  Mac- 
beth, iv.  1 ;  the  extravagant  and  erring,  Hamlet,  i.  1, 

Spirits  (ghosts),  damned  spirits  all,  Midsummer-Nighf s  Dream, 
Hi.  2 ;  may  walk  again,  A  Winter's  Tale,  Hi.  3 ;  II  Henry  VI.,  L 
li- ;  no  blood  in,  Julius  Ccesar,  ii.  1 ;  will  speak,  Hamlet,  i.  1 ;  at 
death.  Sonnet  Ixxiv.    See  Ghosts. 

Spleen,  the,  connected  with  laughter,  3Ieasure  for  Measure,  ii. 
2 ;  Love's  Labour's  Lost,  v.  2 ;  Taming  of  the  Shrew,  induction,  1 ; 
Twelfth  Night,  Hi.  2. 

Spleen  (passion),  Midsummer-Night's  Dream,  i.  1;  of  a  weasel, 
/.  Eenry  IV.,  ii.  3 ;  of  all  the  fiends,  Coriolanus,  iv.  1 ;  the  venom 
of,  Julius  Ccesar,  iv.  3, 

Spleen  (impetuosity),  /.  Henry  VL,  iv.  6 ;  Richard  III,  v.  3. 

Spoils,  offered,  Coriolanus,  i.  9  ;  despised,  Coriolanus,  H.  2  ;  not 
distributed,  Hi.  3 ;  heavy,  v.  5. 

Sponge  (drunkard),  Mercliant  of  Venice,  i.  2  ;  a,  king's  favour- 
ite, Hamlet,  iv.  2  or  v.  6. 

Spoon(s),  a  long,  to  eat  with  the  devil,  TJie  Tempest,  ii.  2 ; 
Comedy  of  Errors,  iv.  3;  you'd  spare  your,  Henry  VIIL,  v,  2. 
The  last  refers  to  the  christening-spoons  given  by  the  sponsors, 
sometimes  called  apostle-spoons,  because  they  bore  each  an  image 
of  one  of  the  apostles. 


INDEX  TO  SHAKSPERE'S   WORKS.  345 


Sport,  tliat  pleases  best,  Love's  Labour's  Lost,  v.  2,  "  Nay,  my 
good  lord,"  etc.;  o'erthrown  by  sport,  Love's  Labour's  Lost,  v.  2; 
for  ladies.  As  You  Like  It,  i.  2;  rural,  A  Winter's  Tale,  iv.  3,  J^ ; 
very  reverend.  Love's  Labours  Lost,  iv.  2;  painful,  The   Tempest, 

Hi.  1.  • 

Spot(s),  of  blood,  Macbeth,  v.  1 ;  of  anger,  Julius  Cmar,  i.  2. 
Sprag  (alert).  Merry  Wives  of  Windsor,  iv.  L 
Sprighted  (haunted),  Cymbeline,  ii.  3. 

Spring,  Love's  Labour's  Lost,  v.  2,  song ;  Romeo  and  Juliet,  i. 
2;  Sonnet  xcviii. ;  Passionate  Pilgrim,  xxi. ;  song  oi,Loves  La- 
bour's Lost,  v.  2  ;  flowers  of,  A  Winter's  Tale,  iv.  3. 

Spurs  (the  long  roots  of  trees),  Cymbeline,  iv.  2  ;  The  Tempest,  r.  1. 
Spy,  accusation  of  being  a,  The  Tempest,  i.  2 ;  commissioning 
a^  Hamlet,  ii.  1. 

Squander  (scatter),  Merchant  of  Venice,  i.  3;  squandering 
glances  of  the  fool,  As  You  Like  It,  ii.  7. 

Square  (quarrel),  Antony  and  Cleopatra,  Hi.  11  or  13,  and  else- 
where. 

Square,  of  sense,  the,  King  Lear,  i.  1.  Obscure ;  perhaps  the 
four  quarters  or  complete  domain  of  sensation. 

Squares,  the  brave,  of  war,  Antony  and  Cleopatra,  Hi.  9. 
Squash  (an  unripe  peas-cod),  Twelfth  Night,  i.  5;  A  Winter's 
Tale,  i.  2  ;  Midsummer-Night's  Dream,  Hi.  1. 

Squier  (square),  A  WHiter's  Tale,  v.  2;  I.  Henry  IV.,  H.  2. 
Squirrel,  the  joiner,  Romeo  and  Juliet,  i.  4  /  hoard  of  the,  Mid- 
summer-Night's Dream,  iv.  1. 

Staff,  a,  is  soon  found  to  beat  a  dog,  II  Henry  VI,  Hi.  1. 
Stafford,  the  Lord  of,  7.  Henry  IV.    Edmund,  fifth  Earl  of 
Stafford. 

Stafford,  Sir  Humphrey,  and  William  his  brother,  characters  in 
II.  Henry  VI.,  introduced  in  iv.  2.  They  are  slain  in  iv.  3,  in  Cade's 
rebellion.     Cade  calls  them  silken-coated  slaves. 

Stafford,  Lord,  character  in  ///.  Henry  VI.,  addressed  by  the 
king  in  iv.  1.  He  was  Sir  Humphrey  Stafford,  of  Southwyck,  a 
cousin  of  the  two  preceding,  a  Yorkist,  and  in  the  play  is  ordered 
with  Pembroke  to  levy  men,  and  prepare  for  war ;  but  he  afterward 
deserted  Pembroke,  for  which  oft'ence  he  was  attainted  and  behead- 
ed in  1469. 

Stafford,  Humphrey,  Henry,  and  Edward.    See  Buckingham. 
Stage,  the  world  a,  Merchant  of  Venice,  i.  1 ;  As  You  Like  It, 
ii.  7  ;  Sonnet  xv.    See  Actors. 


346  INDEX  TO  SHAKSPERE'S  WORKS. 

Staggers,  the,  Taming  of  the  Shreiv,  Hi.  2 ;  All's  Well  (hat 
Ends  Well,  ii.  3  ;  Cymheline,  iv.  5. 

Stains,  on  those  that  should  be  pure,  Lucrece,  I.  1009  ;  of  blood, 
Macbeth,  v.  1. 

Stale  (decoy),  The  Tempest,  iv.  1;  (stalking-horse,  butt),  Titus 
Andronicus,  i.  1  or  2. 

Staleness,  of  the  world.  Hamlet,  i.  2. 

Stalking,  like  a  strange  soul  upon  the  Stygian  banks,  Troilus 
and  Cressida,  Hi.  2. 

Stalking-horse,  As  You  Like  It,  v.  4-  A  real  or  artificial  horse 
from  behind  which  a  fowler  shot  his  game. 

Standard(s),  The  Tempest,  Hi.  2 ;  advance  your,  Richard  III., 
V.3. 

Stands  upon  (is  incumbent),  Richard  III.,  iv.  2  ;  Hamlet,  v.  2  ; 
Antony  and  Cleopatra,  ii.  1. 

Stanley,  Sir  John,  character  in  II.  Henry  VI.,  introduced  in  ii. 
4.  The  Duchess  of  Gloucester  was  banished  to  the  Isle  of  Man  and 
put  into  his  care.  The  Stanleys  in  III.  Henry  VI.  and  Richard  III. 
were  his  brothers. 

Stanley,  Sir  William,  brother  of  the  preceding,  character  in  III. 
Henry  VI.,  introduced  in  iv.  5,  where  he  assists  Edward  IV.  to 
escape  from  Middleham  Castle,  to  which  he  had  been  sent  by  War- 
wick. In  Richard  III.,  iv.  5,  he  is  named  as  one  of  those  who  have 
joined  Richmond.  The  re-enforcements  he  brought  to  the  field  of 
Bosworth  turned  the  battle  against  Richard ;  and  Richmond,  when 
he  became  Henry  VII.,  made  him  lord  chamberlain  and  one  of  his 
counsellors.  He,  however,  was  implicated  in  the  rebellion  of  Perkin 
Warbeck,  and  was  condemned,  after  a  form  of  trial,  and  beheaded  in 
the  year  1495. 

Stanley,  Thomas,  Lord,  character  in  Richard  III.,  where  he  is 
also  called  Derby,  though  he  was  not  made  Earl  of  Derby  until  after 
the  battle  of  Bosworth.  He  married  the  Countess  of  Richmond,  and 
was  therefore  stepfather  of  Henry  VII.  He  was  present  when  Hast- 
ings was  seized,  and  narrowly  escaped  death.  He  was  sent  to  the 
Tower,  but  released  through  Richard,  who  suspected  his  loyalty, 
and  kept  his  son  George  as  a  hostage  for  his  good  faith  while  he  sent 
him  to  levy  soldiers.  He  raised  the  men,  but  did  not  bring  them  on 
the  field  until  the  last  moment,  when  his  brother  William's  forces 
turned  the  victory  to  the  side  of  Richmond. 

Stanley,  George,  son  of  the  preceding,  is  spoken  of  in  Richard 
III.,  iv.  5,  as  being  kept  as  surety  for  his  father's  good  faith,  "  If  I 


INDEX  TO  SHAKSPERE'S  WORKS.  347 

revolt,  off  goes  young  George's  head."  He  afterward  became  Lord 
Strange. 

Stannyel,  the,  checks  (the  kestrel  flies  at),  Twelfth  Night,  ii.  5. 

Stanzo  (old  form  of  stanza).  As  You  Like  It,  ii.  5. 

Star-chamber  matter,  a,  Merry  Wives  of  Windsor,  i.  1.  The 
old  court  of  star-chamber  had  jurisdiction  in  cases  of  riots. 

Starchy.     See  Strachy. 

Starling,  a,  taught  to  speak,  /.  Henry  IV.,  i.  3. 

Star(s),  shine  no  brighter  for  astronomers.  Lovers  Labour'' s  Lost, 
i.  1 ;  harmony  of  the.  Merchant  of  Venice,  v.  1 ;  a  bright  particu- 
lar, AlVs  Well  that  Ends  Well,  i.  1;  two,  not  in  one  sphere,  /.  Henry 
IV.,  V.4;  cinders  of  the  element,  II.  Henry  IV.,  iv.  3;  Diana's 
waiting- women,  Troilus  and  Cressida,  v.  2 ;  cut  him  out  in  little, 
Romeo  and  Juliet,  Hi.  2;  the  northern,  Julius  Ccesar,  Hi.  1 ;  a. 
shooting,  Venus  and  Adonis,  I.  815  ;  influence  of,  see  Astrology. 

Starve-lackey,  the  rapier  and  dagger  man,  a  prisoner  men- 
tioned in  Measure  for  Measure,  iv.  3. 

Starveling,  Robert,  a  tailor,  character  in  the  Midsummer- 
Night'' s  Dream,  introduced  in  i.  2.  He  is  cast  for  the  part  of  This- 
by's  mother  in  the  play  of  the  artisans,  but,  as  she  has  nothing  to  say, 
he  acts  the  part  of  moonshine. 

State,  diseases  of  the,  II.  Henry  IV.,  iv.  1 ;  considerations  of, 
in  marriage,  Hamlet,  i.  3. 

States,  the  married  calm  of,  Troilus  and  Cressida,  i.  3 ;  when 
mighty,  characterless  are  grated  to  dusty  nothing.  Hi.  2. 

Station,  effect  of  high,  on  the  wise  and  on  the  foolish.  Measure 
for  Measure,  ii.  4 ;  dignified  by  deeds,  AlVs  Well  that  Ends  Well, 
ii.  3,  "  From  lowest  place,"  etc. ;  being  in  too  high  a,  Antony  and 
Cleopatra,  ii.  7. 

Station  (attitude),  Hamlet,  Hi.  4. 

Statist  (statesman),  Cymbeline,  ii.  4  >'  Hamlet,  v.  2. 

Statue,  unveiling  of  a,  A  Winter's  Tale,  v.  3. 

Stature,  of  Hermia  and  Helena,  Midsummer-Night's  Dream, 
Hi.  2  ;  of  Rosalind,  As  You  Like  It,  i.  3. 

Statute-caps,  Love's  Labour's  Lost,  v.  2.  Caps  prescribed  by 
law  for  persons  below  a  certain  rank. 

Stealing,  by  line  and  level.  The  Tempest,  iv.  1;  the  way  to, 
Merry  Wives  of  Windsor,  i.  3 ;  the  wise  call  it  conveying.  Merry 
Wives  of  Windsor,  i.  3 ;  one's  self,  Macbeth,  ii.  3. 

Steel,  true  as,  Troilus  and  Cressida,  Hi.  3 ;  Romeo  and  Juliet, 
i.  4  ;  when  steel  grows  soft,  Coriolanus,  i.  9. 


34:8  INDEX  TO  SEAKSPERE'S  WORKS. 

Stelled  (starry),  King  Lear,  iii>  7, 

Stelled  (steeled,  engraved),  Lucrece,  I.  I444. ;  Sonnet  xxiv. 

Stephano,  a  drunken  butler  in  The  Tempest,  introduced  in  ii. 
2.  The  plot  that  he  lays  with  Caliban  and  Trinculo,  to  take  the 
island  and  make  himself  king,  is  a  travesty  of  the  plot  of  Antonio 
and  Sebastian. 

Stephano,  a  servant  of  Portia  in  the  Merchant  of  Venice,  ap 
pears  in  v.  L 

Stepmothers,  Cymheline,  i.  1 ;  Midsummer- Nig hfs  Dream,  i.  1. 

Sterility,,  invoked.  King  Lear,  i.  4;  charm  against,  Julius 
CcBsar,  i.  2. 

Steward,  in  Timon  of  Athens,  in  some  versions  Flavins,  q.  v. 

Stewardship,  of  talents,  Measure  for  Measure,  i.  1,  "  Thyself 
and  thy  belongings,"  etc. 

Stickler  (one  who  separates  combatants,  an  arbitrator),  Troilus 
and  Cressida,  v.  9. 

Stigmatic  (one  marked,  as  by  being  branded  for  crime  ;  also  ap- 
plied to  a  deformed  person),  //.  Henry  VI.,  v.  1 ;  IIL  Renry  VL, 
ii.  2. 

Stillitory  (distillery),  Venus  and  Adonis,  I.  J^lfS. 

Stoccata  (a  sword-thrust),  Romeo  and  Juliet,  Hi.  1. 

Stock-fish  (dried  cod),  L  Henry  IV.,  ii.  4,  and  elsewhere. 

Stocks,  punishment  in  the.  Two  Gentlemen  of  Verona,  iv.  4  ; 
AlVs  Well  that  Ends  Well,  iv.  3  ;  King  Lear,  ii.  2,  4. ;  Coriolanus, 
V.  3  ;  Richard  II.,  v.  5 ;  Comedy  of  Errors,  Hi,  1 ;  Merry  Wives  of 
Windsor,  iv.  5  ;  "  Bilboes,"  a  kind  of  stocks  used  at  sea,  a  bar  of 
iron  to  link  together  mutinous  sailors,  are  spoken  of  in  Hamlet, 
V.  2.  The  name  comes  from  Bilboa,  a  place  in  Spain  where  steel 
instruments  were  made. 

Stomach  (variously  used  for  appetite,  pride,  ambition,  courage, 
anger),  Two  Gentlemen  of  Verona,  i.  2 ;  Taming  of  the  Shrew,  v.  2; 
I.  Henry  IV..  ii.  3  ;  Henry  VIII.,  iv.  2. 

Stomaching  (holding  grudges),  Antony  and  Cleopatra,  ii.  2. 

Stone-bow  (cross-bow  for  shooting  stones),  Twelfth  Night,  ii.  5. 

Stones  (the  enamelled),  Two  Gentlemen  of  Verona,  ii.  7 ;  pre- 
cious, Lover's  Complaint,  I.  210  ;  from  slings,  Henry  V.  iv.  7  ;  base, 
made  precious,  Richard  IIL,  v.  3. 

Stony-Stratford,  a  market-town  of  Berkshire,  Richard  III., 
ii.  4- 

Storm(s),  raised  by  magic,  The  Tempest,  i.  1,  2 ;  v.  1;  at  sea, 
Comedy  of  Errors,  i.  1 ;  A  Winter's  Tale,  Hi.  3 ;  stillness  before  a. 


INDEX  TO  SHAKSPERE'S   WORKS.  349 

Hamlet,  ii.  2 ;  Othello,  ii.  1;  Pericles,  Hi.,  prologue,  1;  on  the 
heath,  King  Lear,  ii.  4,  end;  Hi.  1,  2 ;  betokened  by  a  red  morn, 
Venus  and  Adonis,  I.  453.     See  Tempests. 

Stover  (fodder),  The  Tempest,  iv.  1. 

Strachy,  lady  of  the,  Twelfth  Night,  ii.  5.  An  obscure  allu- 
sion, conjectured  by  some  to  refer  to  a  story  of  a  lady  of  the  house 
of  Strozzi ;  by  others  that  "  it  was  a  hint  to  the  audience  to  expect 
subsequent  allusion  to  the  Starchy  affair" — that  is,  exorcisms  at- 
tempted by  Puritan  ministers  in  the  case  of  a  family  named  Starchy, 
and  that  these  allusions  were  in  the  scene  where  the  clown,  as  Sir 
Topas,  attempts  to  cast  out  the  supposed  devil  from  Malvolio  {iv.  2). 
Dyce  defines  it  as  the  judge's  or  lawyer's  widow. 

Strain,  of  noble,  3Iuch  Ado  about  Nothing,  ii.  1 ;  Julius  Coesar, 
V.  1 ;  of  man,  bred  out  into  baboon  and  monkey,  Timon  of  Athens, 
i.  i  ;  a  degenerate,  Troilus  and  Cressida,  ii.  2. 

Strange,  passing,  Othello,  i.  3:  more,  than  fiction.  Twelfth 
Night,  Hi.  4. 

Strangers,  I  do  desire  we  may  be  better.  As  You  Like  It,  Hi.  2. 

Strappado,  /.  Henry  IV.,  ii.  4-  A  kind  of  torture,  produced 
by  drawing  a  man  up  by  his  arms,  which  were  tied  behind,  and  let- 
ting  him  fall  with  a  jerk. 

Stratagems.     See  Plots. 

Strato,  a  servant  of  Brutus  in  Julius  Ccesar,  appears  in  v.  5. 

Straw,  a  wisp  of,  III.  Henry  VI.,  ii.  2.  Scolds  and  wantons 
were  often  crowned  with  a  wisp  of  straw  when  punished. 

Strawberries,  grow  under  the  nettle,  Henry  V.,  i.  1;  in  the 
bishop's  garden,  Richard  III.,  Hi.  4. 

Stream,  music  of  a.  Two  Gentlemen  of  Verona,  ii.  7. 

Strength.     See  Giant,  Hercules. 

Stricter  (more  restricted),  Cymheline.  v.  4. 

Strife,  among  peoples  of  one  faith,  I.  Henry  VI.,  v.  1. 

Strikers  (borrowers,  thieves),  I.  Henry  IV.,  ii.  1. 

Striving,  to  do  better  than  well.  King  John,  iv.  2  ;  King  Lear, 
L4- 

Strokes,  bad,  with  good  words.  Julius  Ccesar,  v.  1. 

Stuart  kings,  the,  Macbeth,  iv.  1.    See  Apparitions. 

Student-life,  Shallow's,  //.  Henry  IV.,  Hi.  2. 

Study,  aim  and  fruitlessness  of.  Love's  Labours  Lost,  i.  1 ;  iv. 
3 ;  most  profitable  when  congenial.  Taming  of  the  Shrew,  i.  1. 

Stuff,  such,  as  dreams  are  made  of.  The  Tempest,  iv.  1 ;  as  mad- 
men tongue  and  brain  not,  Cymbeline,  v.  4- 
23 


350  INDEX  TO  SHAKSPERE'S  WORKS, 

Styga,  per,  etc.,  Titus  Andronicus,  ii.  1.  "I  am  dragged 
through  the  Styx,  through  the  ghosts." — Seneca. 

Style,  aggravate  his  (add  to  his  titles),  Merry  Wives  of  Windsor^ 
ii.  f ;  a  boisterous  and  cruel,  As  you  Like  It,  iv.  S ;  a,  tedious,  I. 
Henry  VI.,  v.  1. 

Styx,  to  hover  on  the  shore  of,  Titus  Andronicus,  i.  1  ov  2  ;  like 
a  stray  soul  upon  the  banks  of,  Troilus  and  Cressida,  Hi.  2 ;  v.  4. 

Submission,  of  a  son,  II.  Henry  IV.,  v.  2  ;  Richard  III.,  ii.  2  ; 
a  French  word,  /.  Henry  VI.,  v.  1.    See  Obedience. 

Subordinates,  danger  of  too  great  fame  to,  Antony  and  Cleo- 
patra, Hi.  h 

Subordination,  necessity  of,  Troilus  and  Cressida,  i.  3. 

Subscribed  (signed  away).  King  Lear,  i.  2. 

Subscription  (submission).  King  Lear,  Hi.  2. 

Subtle  (smooth),  Coriolanus,  v.  2. 

Subtleties,  The  Tempest,  v.  1.  Metaphor  from  an  old  name  for 
fancy  viands. 

Subtractors  (detractors),  Twelfth  Night,  i.  3. 

Suburbs,  Measure  for  Measure,  i.  2.  Such  people  "  lived  mostly 
in  the  suburbs  of  London  in  Shakspere's  day." — White.  Dwell  I 
but  in  the  suburbs  of  your  good  pleasure  %  Julius  CcBsar,  ii.  1. 

Success,  bad,  of  things  ill-got,  ///.  Henry  VI.,  ii.  2. 

Success  (succession),  A  Winter's  Tale,  i.  2. 

Sufferance,  the  badge  of,  Merchant  of  Venice,  i.  3  ;  of  a  dying 
beetle,  Measure  for  Measure,  Hi.  1 ;  ease  comes  of,  II.  Henry  I V., 
V.  4 ;  lingering.  Measure  for  Measure,  ii.  4. 

Sutfering,  fellowship  in,  King  Lear,  Hi.  6,  end;  unmerited, 
Richard  II.,  v.  1 ;  King  Lear,  v.  2. 

Suffolk,  Michael  de  la  Pole,  third  Earl  of.  His  death  and  that 
of  the  Duke  of  York,  at  Agincourt,  are  pathetically  described  in 
Henry  V.,  iv.  6.  He  is  again  mentioned  in  iv.  8.  The  Suffolk  of  I 
Henry  VI.  was  his  brother  and  successor  in  the  earldom. 

Suffolk,  William  de  la  Pole,  fourth  Earl  of,  afterward  Duke, 
character  in  I.  Henry  VI.,  introduced  in  ii.  4,  and  in  II.  Henry  VI., 
introduced  in  the  first  scene.  He  held  high  command  in  France 
under  the  regent  Bedford,  and  was  sent  to  negotiate  the  marriage  of 
the  king  with  Margaret  of  Anjou.  According  to  the  play,  they  were 
deeply  attached  to  each  other.  Holinshed  says  the  queen  "  entirely 
loved  the  duke."  There  is  a  prophecy  concerning  him  in  II.  Henry 
VI.,  i.  4,  alluded  to  again  in  iv.  1.  He  was  unpopular  with  the 
people  for  having  given  up  Anjou  and  Maine,  and  was  accused  of 


INDEX  TO  SHAKSPERE'S   WORKS.  351 

the  murder  of  his  rival,  Humphrey  of  Gloucester.  He  was  con- 
demned on  a  charge  of  treachery,  and  banished  by  the  king,  II.  Hen- 
ry VI.,  Hi.  2.  On  his  way  from  the  country  he  was  seized  and  put 
to  death  by  pirates,  iv.  1. 

Suffolk,  Charles  Brandon,  Duke  of,  character  in  Henry  VII I, 
introduced  in  i.  2.  He  was  the  son  of  Sir  William  Brandon,  wdio 
fell  on  Bosworth  Field.  He  was  called  the  handsomest  man  of  his 
day,  and  was  a  great  favourite  with  the  king,  with  whom  he  was 
brought  up.  He  married,  for  his  third  wife,  Henry's  sister,  Mary 
Tudor,  widow  of  Louis  XII.  of  France.  The  unequal  marriage  gave 
occasion  for  the  lines : 

"  Cloth  of  frieze  be  not  too  bold. 
Though  thou  art  matched  with  cloth  of  gold ; 
Cloth  of  gold  do  not  despise. 
Though  thou  art  matched  with  cloth  of  frieze." 

Suggest,  suggestion  (tempt,  temptation).  The  Tempest,  ii.  1; 
AlVs  Well  that  Erids  Well,  in.  5 ;  I.  Henry  IV.,  iv.  3 ;  lAicrece,  I. 
37  ;  Sonnet  cxliv  ;  Macbeth,  i.  3,  and  elsewhere. 

Suicide,  The  Tempest,  Hi.  3  ;  Romeo  and  Juliet,  v.  3  ;  cowardly, 
Romeo  and  Juliet,  Hi.  3 ;  Julius  CcBsar,  i.  3 ;  v.  1 ;  shortens  the 
time  of  fearing  death,  Julius  Ccesar,  Hi.  1 ;  the  Almighty's  canon 
'gainst,  Hamlet,  i.  2  ;  soliloquy  on,  Hamlet,  Hi.  1 ;  burial  of  a,  Ham- 
let, V.  1;  Gloucester's  intended.  King  Lear,  iv.  6 ;  v.  2 ;  Roderigo's 
contemplated,  Othello,  i.  3  ;  of  Othello,  v.  2  ;  of  Antony,  Antony  and 
Cleopatra,  iv.  12  or  i^ ;  is  it  sin  %  Antony  and  Cleopatra,  iv.,  end  ; 
of  Cleopatra,  Antony  and  Cleopatra,  v.  2 ;  prohibition  against,  Cym- 
beline.  Hi.  4. 

Suitors,  discussion  of,  Merchant  of  Venice,  i.  2  ;  Taming  of  the 
Shrew,  H.  1 ;  poor,  have  strong  breaths,  Coriolanus,  i.  1.  See  Lov- 
ers, Love-Making. 

Sullenness,  Much  Ado  about  Nothing,  i.  3. 

Summer,  brevity  of.  Sonnet  xviii ;  St.  Martin's,  I.  Henry  VI., 
i.  2  ;  short  summers  have  a  forward  spring,  Richard  III.,  Hi.  1. 

Sun,  the,  adoration  of,  AlVs  Well  that  Ends  Well,  i.  3,  "  Thus 
Indian-like,"  etc. ;  that  orbed  continent.  Twelfth  Night,  v.  1 ;  looks 
on  all  alike,  A  Winter's  Tale,  iv.  3  or  4  ;  plays  the  alchemist,  KHig 
John,  Hi.  1 ;  wandering  knight — imitate  the,  I.  Henry  IV.,  i.  2  ;  in 
March,  nourishes  agues,  I.  Henry  IV.,  iv.  1 ;  his  fiery  car,  Richard 
III.,  V.  3  ;  as  certain  as  it  is  fire,  Coriolanus,  v.  4  ;  Juliet  is  the,  Ro- 
meo and  Juliet,  ii.  2 ;  if  CsBsar  can  hide  it  with  a  blanket,  Julius 
C(Bsar,  Hi.  1 ;  too  much  in  the,  Hamlet,  i.  2  ;  perhaps  an  allusion  to 


352  INDEX  TO  SHAKSPERE'S    WORKS. 

the  meaning  of  the  expression  as  homeless  and  friendless  ;  influence 
of  eclipses  of,  King  Lear,  i.  2  ;  burn  the  great  sphere,  Antony  and 
Cleopatra,  iv.  12  or  i^ ;  weary,  Venus  and  Adonis,  I.  178  ;  his  daily 
course.  Sonnet  vii  ;  the  shadowed  livery  of  the  burnished.  Merchant 
of  Venice,  ii.  1 ;  men  shut  their  doors  against  a  setting,  Timon  of 
Athens,  i.  2;  the  sun's  a  thief,  and  with  his  great  attraction  robs 
the  vast  sea,  Timon  of  Athens,  iv.  3. 

Sun(s),  our  half-faced,  II.  Henry  VI.,  iv.  1.  The  device  of  Ed- 
ward IV. ;  three,  ///.  Henry  VI.,  ii.  1.    An  historical  incident. 

Suiiday(s),  sigh  away.  Much  Ado  about  Nothing,  i.  1 ;  marriage 
on,  Taming  of  the  Shrew,  ii.  1.  Sunday  was  a  favourite  day  for  the 
ceremony. 

Sunflower  (marigold),  the,  A  Winter's  Tale.  iv.  3  or  4. 

Sunrise,  Love's  Labour's  Lost,  iv.  3 ;  Richard  II.,  ii.  3 ;  L 
Henry  IV.,  v.  1 ;  Romeo  and  Juliet,  i.  1 ;  ii.  3 ;  Hi.  5 ;  Venus  and 
Adonis,  I.  860  ;  Sonnet  xxxiii. 

Sunset,  King  John,  v.  4;  Richard  II.,  ii.  4;  Richard  III.,  v. 
3 ;  Julius  Ccesar,  v.  3. 

Superfluity,  disadvantage  of.  Merchant  of  Venice,  i.  2  ;  to  gild 
refined  gold,  tc  paint  the  lily,  King  John,  iv.  2. 

Superfluous  (too  rich).  King  Lear,  iv.  1. 

Supernatural,  the,  discredited.  All's  Well  that  Ends  Well,  ii. 
3;  belief  in,  Julius  Cmsar,  i.  3 ;  Macbeth,  Hi.  4,  "Can  such  things 
be,"  etc.     See  also  Omens  and  Superstitions. 

Superstitions,  regarding  fairies,  Merry  Wives  of  Windsor,  iv. 
4;  V.  5 ;  odd  numbers,  Merry  Wives  of  Windsor,  v.  1 ;  the  jewel  in 
the  toad's  head.  As  You  Like  It,  ii.  1 ;  that  a  man  rescued  from 
drowning  would  do  his  rescuer  some  injury.  Twelfth  Night,  ii.  1, 
"  If  you  will  not  murder  me,"  etc. ;  Pandulph  shows  how  they  may 
be  turned  to  account.  King  John,  Hi.  4,  "  How  green  you  are,"  etc. ; 
concerning  eclipses,  Macbeth,  ii.  3;  Hamlet,  i.  1;  King  Lear,  i.  2; 
that  the  murdered  bleed  at  the  presence  of  the  murderer,  Richard 
III.,  i.  2 ;  that  blood  will  have  blood,  Macbeth,  Hi.  4 ;  concerning 
the  dead  on  shipboard,  Pericles,  Hi.  1.  See  also  Omens,  Ghosts, 
Dreams,  Magic,  and  Witchcraft.  Coleridge  says,  "Superstition 
of  one  sort  or  another  is  natural  to  victorious  generals,''  and  Shak- 
spere  attributes  superstitious  fears  to  Macbeth  and  Caesar. 

Supplication,  Measure  for  Measure,  ii.  2  ;  Two  Gentlemen  of 
Verona,  Hi.  1. 

Sur-addition  (surname),  Cymbeline,  i.  1. 

Surfeit,  the  father  of  fast,  Measure  for  Measure,  i.  3;  of  honey, 


INDEX  TO  SHAKSPEBE'S   WORKS.  353 

L  Henry  IV.,  in.  2 ;  of  good  things,  Merchant  of  Venice,  i.  2.  See 
Excess. 

Surge,  the  murmuring.  King  Lear,  iv.  6. 

Surgeons  and  surgery,  allusions  to :  Midsummer  -  NighVs 
Dream,  v.  1;  Mercliant  of  Venice,  iv.  1;  Twelfth  Night,  v.  1;  1. 
Henry  IV.,  v.  1 ;  Henry  V.,  iv.  1 ;  Troilus  and  Cressida,  v.  1 ;  Mac- 
beth, iv.  3 ;  King  Lear,  iv.  6 ;  Othello,  ii.  3. 

Surplice,  of  humility,  AlVs  Well  that  Ends  Well,  i.  3.  Allud- 
ing to  the  controversy  about  wearing  the  surplice. 

Surprise.     See  Astoxishmext. 

Surreined  (overworked),  Henry  V.,  Hi.  5. 

Surrender,  summons  to,  King  John,  ii.  1  or  2 ;  Henry  V., 
Hi.  3. 

Surrey,  Thomas  Holland.  Duke  of,  character  in  Richard  IL,  in- 
troduced in  i.  3.  His  father  was  the  king's  half-brother,  a  son  of 
Joan,  "  the  fair  maid  of  Kent,"  by  her  first  husband,  Sir  Thomas 
Holland.  He  acted  as  marshal  at  the  meeting  of  Mowbray  and 
Bolingbroke,  i.  3,  in  place  of  Mowbray,  who  was  hereditary  earl- 
marshal.  At  the  accession  of  Henry  IV.  he  was  deprived  of  his 
title,  Duke  of  Surrey,  which  he  was  the  first  to  bear,  and  which  has 
never  been  revived,  but  kept  his  former  title.  Earl  of  Kent.  He 
afterward  joined  in  the  conspiracy  against  Henry,  was  taken  and 
executed,  and  his  head  set  on  London  Bridge. 

Surrey,  Thomas  Fitz-Alan,  Earl  of,  enters  in  //.  Henry  IV.,  Hi. 
1,  but  does  not  speak. 

Surrey,  Thomas  Howard,  Earl  of,  character  in  Richard  III, 
introduced  in  v.  3.  He  was  the  son  of  the  Duke  of  Xorfolk  in  this 
play,  and  is  the  Duke  of  Norfolk  in  Henry  VIII.  After  the  battle 
of  Bosworth  he  was  attainted,  imprisoned,  and  deprived  of  his  title : 
but  he  was  released  after  three  years,  and  restored  to  the  title  of 
Earl  of  Surrey.  He  commanded  the  English  forces  at  Flodden 
Field  in  1513,  and  for  that  service  was  restored  to  his  father's  rank 
and  title  as  Duke  of  Norfolk.     See  Norfolk. 

Surrey,  Thomas  Howard,  Earl  of,  character  in  Henry  VIII.,  in- 
troduced in  Hi.  2.  He  was  a  son  of  the  preceding.  He  also  served 
at  Flodden,  and  was  afterward  Lord  Admiral  of  England  and  Lord 
Lieutenant  of^  Ireland.  The  latter  post  he  charges  Wolsey  in  Hi.  3 
with  having  obtained  for  him  to  get  him  away  from  the  country,  so 
that  he  could  not  aid  Buckingham,  who  was  his  father-in-law.  His 
son  was  the  famous  Earl  of  Surrey,  scholar  and  poet,  who  was  exe- 
cuted by  order  of  Henry  VIII.     Norfolk,  the  character  in  this  play, 


354  INDEX  TO  SHAKSPERE'S   WORKS, 

was  destined  for  the  same  fate,  but  escaped  by  the  death  of  the  king 
the  day  before  the  one  fixed  for  his  execution. 

Surveyor,  of  the  Duke  of  Buckingham  in  Henry  VIIL,  was 
Charles  Knevet  or  Kiiivet,  cousin  of  the  duke.  He  testifies  against 
his  master  in  ^.  2. 

Suspicion,  3Ierchant  of  Venice,  i.  3 ;  A  Winter's  Tale,  i.  2 ;  iv. 
1  or  £;  ever  on  a  traitor,  /.  Henry  IV.,  v.  2 ;  ready  tongue  of,  II. 
Henry  IV.,  i.  1;  ground  for,  II.  Henry  VI.,  Hi.  2;  haunts  the 
guilty,  ///.  Henry  VI.,  v.  6  ;  want  of,  in  innocence.  King  Lear,  i.  2, 
end ;  poison,  Othello,  Hi.  3 ;  against  Macbeth,  Hi.  6 ;  ornament  of 
beauty  (suspect).  Sonnet  Ixx ;  aroused,  Hamlet,  Hi.  2. 

Sutton-Co'fil  (Coldfield),  I.  Henry  IV.,  iv.  2.  A  town  about 
twenty-four  miles  north  of  Coventry. 

Swallow,  the.  A  Winter's  Tale,  iv.  3  ;  Timon  of  Athens,  Hi.  6  ; 
ominous,  Antony  and  Cleopatra,  iv.  12. 

Swaii(s),  dying  song  of  the.  Merchant  of  Venice,  Hi.  2 ;  King 
John,  V.  7 ;  Othello,  v.  2 ;  Lucrece,  I.  1611;  thy,  a  crow,  Romeo  and 
Juliet,  i.  2 ;  let  the  priest  be  the  death-divining  swan.  The  Phoenix 
and  the  Turtle. 

Swans,  Juno's  (for  peacocks).  As  You  Like  It,  i.  2. 

Swarths  (swaths).  Twelfth  Night,  ii.  3. 

Swashers,  three,  Henry  V.,  Hi.  2. 

Swashing  (swaggering),  As  You  Like  It,  i.  3. 

Swearing,  like  a  lady — like  a  comfit-maker's  wife,  1.  Henry  IV., 
Hi.  1,  near  the  end ;  by  a  gentleman,  Cymbeline,  ii.  1 ;  why  should 
I  think  you  can  be  mine,  and  true,  though  you  in  swearing  shake 
the  throned  gods  ?  Antony  and  Cleopatra,  i.  3.     See  Oaths. 

Sweet  Cytherea  sitting  by  a  brook.  Passionate  Pil- 
grim, iv. 

Sweet  love,  renew  thy  force,  Sonnet  Ivi. 

Sweet  marjoram.  King  Lear,  iv.  6. 

Sweetness,  in  speech,  Julius  Ccesar,  v.  1. 

Sweet  rose,  fair  flower.  Passionate  Pilgrim,  x. 

Sweets,  sour  in  digestion,  Richard  II.,  i.  3  ;  to  the  sweet,  Ham- 
let, V.  1 ;  grown  common.  Sonnet  cH. 

Sweno,  King  of  Norway,  brought  an  army  to  Fife,  and,  with 
the  aid  of  Cawdor,  vanquished  the  Scots  at  Culros^  but  was  after- 
ward beaten  by  Macbeth,  Macbeth,  i.  2. 

Swiftness,  like  the  arrow,  Midsummer- Night's  Dream,  Hi.  2 ; 
of  hope,  Richard  III.,  v.  2. 

Swimmers,  as  two  spent,  Macbeth,  i.  2. 


INDEX  TO  SEAKSPERE'S  WORKS.  355 

Swimming,  Ferdinand's,  The  Tempest,  ii.  1;  by  Caesar  and 
Cassius,  Julius  Ccesar,  i.  2. 

Swinge  (whip),  Taming  of  the  Shrew,  v.  2,  a/nd  elsewhere, 

Swinge-bucklers  (carousers),  II.  Henry  IV.,  Hi.  2. 

Swinstead  Abbey,  King  John,  v.  3, 6, 7.  Swinstead,  or  Swines- 
head,  is  in  Lincolnshire,  seven  miles  from  Boston,  and  was  itself  once 
a  port,  the  sea  flowing  up  to  its  market-place,  which  was  a  harboin*. 
John  did  not  die  there,  as  in  the  play,  but  at  Newark  Castle,  in  Not- 
tinghamshire. The  story  of  his  death  is  thus  told  by  Roger  of  Wend- 
over  :  "  While  Louis  was  continuing  the  siege  of  Dover  for  a  length 
of  time,  and  without  success,  John,  with  a  large  force,  had  been  com- 
mitting terrible  ravages  in  the  counties  of  Suffolk  and  Norfolk.  At 
last  he  took  his  way  through  the  town  of  Lynn,  where  he  was  re- 
ceived with  joy  by  the  inhabitants,  and  received  large  presents  from 
them.  He  then  took  his  march  toward  the  north,  but  in  crossing 
the  river  Wellester,  he  lost  all  his  carts,  wagons,  and  baggage- 
horses,  together  with  his  money,  costly  vessels,  and  everything  which 
he  had  a  particular  regard  for ;  for  the  land  opened  in  the  middle  of 
the  water  and  caused  whirlpools,  which  sucked  in  everything,  as 
well  as  men  and  horses,  so  that  no  one  escaped  to  tell  the  king  of  the 
misfortune.  He  himself  narrowly  escaped  with  his  army,  and  passed 
the  following  night  at  a  convent  called  Swineshead,  where,  as  was 
thought,  he  felt  such  anguish  of  mind  about  his  property  which  was 
swallowed  up  by  the  waters,  that  he  was  seized  with  a  violent  fever 
and  became  ill ;  his  sickness  was  increased  by  his  pernicious  gluttony, 
for  that  night  he  surfeited  himself  with  peaches  and  drinking  new 
cider,  which  greatly  increased  and  aggravated  the  fever  in  him.  He 
however  left  that  place  at  early  dawn,  although  in  pain,  and  pro- 
ceeded to  the  castle  of  Lafort  [Sleaford]  to  take  up  his  quarters,  and 
at  this  place  he  was  in  such  pain,  that  on  the  following  day  it  was 
with  difficulty  that  he  reached  Newark  on  horseback ;  there  his  dis- 
ease gained  ground,  and  he  confessed  himself  and  receiv^ed  the 
eucharist  from  the  Abbot  of  Croxton.  .  .  .  Being  then  asked  by  the 
abbot  where  he  would  wish  to  be  buried  in  case  he  should  die,  he 
answered,  '  To  God  and  St.  Wolstan  I  commend  my  body  and  soul.' 
After  this,  on  the  night  next  after  St.  Luke  the  Evangelist's  day 
[October  19,  1216]  he  departed  this  life,  having  reigned  eighteen 
years  and  a  half ;  his  body  was  dressed  in  royal  robes  and  carried  to 
Worcester,  and  was  there  honourably  buried  in  the  cathedral  church 
by  the  bishop  of  that  place."  Nothing  now  remains  of  the  original 
abbey,  which  was  founded  in  1154.     It  was  demolished  in  1610,  and 


356  INDEX  TO  SHAKSPERE'S   WORKS. 

the  materials  were  l^iiilt  into  a  stone  mansion,  known  also  as  Swine& 
bead  Abbey. 

Switzers,  tlamld,  iv.  5  or  2.  Mercenary  soldiers,  the  king's 
guards.     The  Swiss  served  various  countries  as  mercenaries. 

Sword(s),  a  charmed,  The  Tempest,  i.  2 ;  to  open  the  world 
with,  Merry  Wives  of  Windsor,  ii.  2 ;  study  the  word  and  the, 
Merry  Wives  of  Windsor,  Hi.  1;  wooed  with  the,  Midsummer- 
Nighfs  Dream,  i.  1 ;  sworn  by,  A  Winter's  Tale,  ii.  3 ;  Hamlet,  i. 
5  ;  hidden  with  crowns,  Henry  V.,  ii.,  chorus  ;  of  a  lath,  //.  Henry 
VI.,  iv.  2  ;  carve  a  passage  with — voice  in  the,  Macbeth,  v.  7 ;  ten- 
der-mindedness  does  not  become  a,  Ki?ig  Lear,  v.  3 ;  of  heaven. 
Measure  for  Measure,  Hi.  2 ;  eat,  Much  Ado  about  Nothing,  iv.  1 ; 
Troilus  and  Cress ida,  ii.  3. 

Sword-and-buckler,  prince,  a,  7.  Henry  IV.,  i.  3.  The  buckler 
was  deemed  a  "  clownish,  dastardly  weapon." 

Sword-dance,  allusion  to.  All's  Well  that  Ends  Well,  ii.  1 ;  An- 
tony and  Cleopatra,  Hi.  2.  A  dance  in  which  skill  was  shown  in  the 
handling  and  striking  together  of  swords. 

Swordsmen,  old.  Merry  Wives  of  Windsor,  ii.  3. 

Sycophants,  Timon  of  Athens,  Hi.  6 ;  King  Lear,  ii.  2,  "  Such 
smiling  rogues  as  these,"  etc. 

Sycorax,  a  witch,  mother  of  Caliban  in  The  Tempest,  spoken  of 
in  i.  2 ;  v.  1.  She  had  had  Ariel  for  her  servant,  and  for  disobedi- 
ence shut  him  up  in  a  cloven  pine,  from  which  Prospero  released 
him  after  a  dozen  years. 

"  As  long  as  I  can  remember  the  play  of  The  Tempest,  one  pas- 
sage in  it  has  always  set  me  upon  wondering.  It  has  puzzled  me 
beyond  measure.  ...  It  is  where  Prospero,  relating  the  banishment 
of  Sycorax  from  Argier,  adds  : 

'  For  one  thing  that  she  did. 
They  would  not  take  her  life.' 
...  At  length  I  think  I  have  lighted  upon  a  clue  which  may  lead  to 
show  what  was  passing  in  the  mind  of  Shakspere  when  he  dropped 
this  imperfect  rumour.  In  the  '  Accurate  Description  of  Africa,'  by 
John  Ogilby,  folio,  1670.  page  230,  I  find  written  as  follows:  '  In  the 
last  place,  we  will  briefly  give  an  account  of  the  Emperor  Charles 
the  Fifth,  when  he  besieged  this  city  [Algier].  This  prince,  in  the 
year  1541,  having  embarqued  upon  the  sea  an  army  of  22,000  men 
aboard  eighteen  galleys  and  an  hundred  tall  ships,  not  counting  the 
barques  and  shallops,  and  other  small  boats,  in  which  he  had  en- 
gaged the  principal  of  the  Spanish  and  Italian  nobility  with  a  good 
number  of  the  Knights  of  Malta.  .  .  .  They  next  fell  to  battering 
the  city  by  the  force  of  cannon ;  which  the  assailants  so  weakened, 
that  in  that  great  extremity  the  defendants  lost  their  courage  and 


INDEX  TO  SHAKSPERE'S  WORKS.  357 

resolved  to  surrender.  But  as  they  were  thus  intending,  there  was  a 
witch  of  the  town,  whom  the  history  does  not  name,  which  went  to 
seek  out  Assam  Aga,  that  commanded  within,  and  prayed  him  lo 
make  it  good  yet  nine  days  longer,  with  assurance  that  within  that 
time  he  should  infallibly  see  Algier  delivered  from  that  siege,  and 
the  whole  army  of  the  enemy  dispersed  so  that  Christians  should  be 
as  cheap  as  birds.  In  a  word,  the  thing  did  happen  in  the  manner 
as  foretold ;  for,  upon  the  21st  day  of  October,  in  the  same  year, 
there  fell  a  continual  rain  upon  the  land,  and  so  furious  a  storm  at 
sea,  that  one  might  have  seen  ships  hoisted  into  the  clouds  and  in 
one  instant  again  precipitated  into  the  bottom  of  the  water :  inso- 
much that  that  same  dreadful  tempest  was  followed  with  the  loss  of 
fifteen  galleys  and  above  an  hundred  other  vessels ;  which  was  the 
cause  why  the  Emperor,  seeing  his  army  wasted  by  the  bad  weather, 
pursued  by  a  famine,  occasioned  by  wrack  of  his  ships  in  which  was 
the  greater  part  of  his  victuals  and  ammunition,  he  was  constrained 
to  raise  the  siege,  and  set  sail  for  Sicily,  whither  he  retreated  with 
the  miserable  "reliques  of  his  fleet.  In  the  meantime,  that  witch 
being  acknowledged  the  deliverer  of  Algier,  was  richly  remunerated 
and  the  credit  of  her  charms  authorized.  .  .  .  And  hereupon  those 
of  Algier,  to  palliate  the  shame  and  the  reproaches  that  are  thrown 
upon  them  for  making  use  of  a  witch  in  the  danger  of  this  siege,  do 
say  that  the  loss  of  the  forces  of  Charles  V.  was  caused  by  a  prayer 
of  one  of  their  Marabous,  named  Cidy  Utica,  which  was  at  that  time 
in  great  credit,  not  under  the  notion  of  a  magician,  but  for  a  person 
of  holy  life.  Afterwards,  in  remembrance  of  their  success,  they  have 
erectecl  unto  him  a  small  mosque  without  the  Babason  gate,  where 
he  is  buried,  and  in  which  they  keep  sundry  lamps  burning  in  honour 
of  him ;  nay,  they  sometimes  repair  thither  to  make  their  sala,  for  a 
testimony  of  greater  veneration.'  Can  it  be  doubted  for  a  moment, 
that  the  dramatist  had  come  fresh  from  reading  some  older  narrative 
of  this  deliverance  of  Algier  by  a  witch,  and  transferred  the  merit  of 
the  deed  to  his  Sycorax,  exchanging  only  the  '  rich  remuneration,' 
which  did  not  suit  his  purpose,  to  the  simple  pardon  of  her  life  ? 
Ogilby  wrote  in  1670  ;  but  the  authorities  to  which  he  refers  for  his 
account  of  Barbary  are  Johannes  de  Leo,  or  Africanus,  Louis  Marmol, 
Diego  de  Haedo,  Johannes  Gramaye,  Braeves,  Cel.  Curio,  and  Diego 
de  Torres,  names  totally  unknown  to  me,  and  to  which  I  beg  leave  to 
refer  the  curious  reader  for  his  fuller  satisfaction." — Charles  Lamb. 

Sylla,  //.  Henry  VI.,  iv.  1. 

Sympathy,  obligation  of,  The  Tempest,  v.  1;  offered,  Merry 
Wives  of  Windsor,  ii.  1,  letter  ;  in  sorrow,  Much  Ado  about  Nothing, 
V.  1;  craving  for,  Richard  II.,  v.  1 ;  ignorant,  Lucrece,  lines  1228, 
1270 ;  with  the  wretched,  Kiiig  Lear,  Hi.  If.,  6 ;  iv.  1 ;  in  suffering, 
Othello,  Hi.  3  ;  Tempest^  i.  2  ;  v.  1. 

Syracuse,  in  Sicily,  home  of  some  of  the  characters  in  the 
Comedy  of  Errors ;  traffic  between  Ephesus  and,  i.  1. 

Syracuse,  Duke  of,  referred  to  in  the  Comedy  of  Errors,  i.  1. 

Syria,  a  plain  in,  scene  of  a  part  of  Antony  and  Cleopatra. 


358  INDEX  TO  SHAKSPERE'S  WORKS. 

Table  (in  chiromancy,  the  whole  collection  of  lines  on  the  palm), 
Mercliant  of  Venice,  ii.  2. 

Tables  (memorandum-tablets),  Two  Gentlemen  of  Verona,  ii.  7 ; 
Hamlet,  i.  5  ;  Troilus  and  Cressida,  v.  5. 

Tabor,  music  of  the,  The  Tempest,  Hi.  2 ;  Ariel's,  The  Tempest, 
iv.  1;  Si  fool's,  Twelfth  Night,  Hi.  1 ;  Much  Ado  about  Nothing, 
ii.  3. 

Tabourines,  Antony  and  Cleopatra,  iv.  8 ;  Troilus  and  Cres- 
sida, iv.  5. 

Taciturnity,  Troilus  and  Cressida,  iv.  2. 

Tailor,  abuse  of  a,  Taming  of  the  Shrew,  iv.  3  ;  to  turn,  7.  Hen- 
ry IV.,  Hi.  1;  tailors  were  proverbially  fond  of  music;  made  by  a, 
Cymbeline,  iv.  1;  King  Lear,  ii.  2;  an  exclamation  made  on  fall- 
ing. Midsummer- Nighfs  Dream,  ii.  1;  goose  of  a,  Macbeth, 
ii.  3 ;  the,  with  his  last,  Romeo  and  Juliet,  i.  2. 

Take  all  my  loves,  my  love,  yea,  take  them  all,  Sonnet  xl. 

Take,  O  take,  song.  Measure  for  Measure,  iv.  1  (of  doubtful 
authorship). 

Take  thine  old  cloak,  stanzas  from  the  song,  Othello,  ii.  3. 
The  song  is  to  be  found  in  Percy's  "  Reliques." 

Takes  the  cattle,  Merry  Wives  of  Windsor,  iv.  4.  An  animal 
stricken  by  the  fairies  with  disease  was  said  to  be  taken. 

Taking  (infected)  airs,  King  Lear,  ii.  4;  (witchcraft),  King 
Lear,  Hi.  4- 

Talbot,  John,  Lord,  afterward  Earl  of  Shrewsbury,  character  in 
I.  Henry  VL  This  famous  general  was  taken  prisoner  by  the 
French  at  the  siege  of  Patay  in  1429,  alluded  to  in  i.  1,  where  his 
bravery  at  the  siege  is  described.  He  first  appears  in  i.  4,  having 
been  exchanged  for  Lord  Ponton  de  Saintrailles.  His  successes  are 
enumerated  in  Hi.  4,  and  he  is  there  made  Earl  of  Shrewsbury,  be- 
fore the  king's  coronation,  which  took  place  in  1431,  though,  as  a 
matter  of  fact,  he  did  not  receive  the  title  till  1442.  He  was  after- 
ward made  Earl  of  Waterford  and  Wexford.  In  ii.  3  the  Countess 
of  Auvergne  alludes  to  the  fact  that  his  name  was  such  a  terror  in 
France  that  *'  mothers  stilled  their  babes "  with  it,  and  expresses 
surprise  at  the  insignificance  of  the  great  general's  appearance.  He 
conducted  the  siege  of  Bordeaux  and  took  the  town,  iv.  2-5,  and  was 
defeated  and  killed  at  Castillon,  iv.  7.  This  occurred  in  1453,  long 
after  the  execution  of  Joan,  though  it  is  not  so  represented  in  the 
play.  Talbot's  death  ended  English  hopes  of  dominion  in  France. 
Talbot,  young  John,  son  of  the  Earl  of  Shrewsbury,  character 


INDEX  TO  SHAKSPERE'S   WORKS.  359 

in/.  Henry  VI.,  introduced  in  iv.5;  his  bravery,  iv.  5-7 ;  his  death, 
iv.  7. 

Talbot,  Sir  Gilbert,  mentioned  in  Richard  III.,  iv.  5,  as  one  of 
the  adherents  of  Richmond,  a  grandson  of  the  Earl  of  Shrewsbury 
in  Henry  VI. 

Tale,  thereby  hangs  a,  Merry  Wives  of  Windsor,  i.  4;  As  You 
Like  It,  a.  7  ;  Taming  of  the  Shrew,  iv.  1 ;  Othello,  Hi.  1 ;  an  an- 
cient, new  told,  King  John,  iv.  2 ;  an  honest,  speeds  best  plainly 
told,  Richard  III,  iv.  4  y  a  sad,  befits  winter,  A  Winter''^  Tale,  ii. 
1 ;  life  like  an  idiot's,  Macbeth,  v.  5  ;  efEect  of  a  frightful,  Hamlet,  i. 
5  ;  a  round,  unvarnished,  Othello,  i.  3  ;  of  woe,  Richard  II.,  v.  1;  a 
true.  Merchant  of  Venice,  Hi.  1. 

Tale,  as  thick  as,  Macbeth,  i.  3.     Tally — fast  as  one  could  count. 

Talents,  thankfulness  for.  Love's  Labour's  Lost,  iv.  2 ;  hidden. 
Twelfth  Night,  i.  3,  *'  Wherefore  are,"  etc. ;  only  felt  by  communica- 
tions, Troilus  and  Oressida,  Hi.  3. 

Talents  (talons),  Love's  Labour's  Lost,  iv.  2. 

Talking.     See  Speech,  Words. 

Talker(s),  caution  to  a  great.  Merchant  of  Venice,  i.  1 ;  are  no 
doers,  Richard  III,  i.  3  ;  exhorted  to  brevity,  Troilus  aiid  Cressida, 
i.  5 ;  like  a  woman,  I.  Henry  IV.,  i,  3 ;  a,  voluble  knave,  Othello, 
ii.  1 ;  without  action,  Titus  Andronicus,  v.  2. 

Tall  (brave,  fine).  Twelfth  Night,  i.  3,  and  elsewhere. 

Tallow-keech,  /.  Henry  IV.,  ii.  4-  A  round  lump  ready  to  be 
carried  from  the  butcher  to  the  chandler. 

Taming  of  the  Shrew,  The,  a  comedy  first  printed  in  the  folio 
of  1623.  The  date  of  writing  has  been  variously  conjectured,  the 
dates  assigned  ranging  from  1596  to  1606.  There  was  an  older  play, 
"  The  Taming  of  a  Shrew,"  by  an  unknown  author,  guessed  to  be 
Robert  G-reene,  published  in  1594,  but  probably  on  the  stage  for 
some  time  before.  In  this  there  was  little  of  the  part  of  Bianca  and 
her  suitors ;  but  Shakspere  is  not  credited  with  the  writing  of  this 
part.  It  is  supposed  to  be  the  work  of  an  inferior  hand,  either  a  co- 
labourer  with  him,  or  one  who  revamped  the  old  play,  and  whose 
version  was  in  turn  revamped  by  Shakspere,  whose  hand  appears  in 
the  induction  and  the  scenes  in  which  Petruchio,  Katherina,  and 
Grumio  are  the  chief  actors.  The  story  of  the  induction  is  told  in  the 
•'  Arabian  Nights."  It  is  given  as  an  anecdote  of  Philip  the  Good, 
Duke  of  Burgundy,  in  Goulart's  "  Admirable  and  Memorable  Histo- 
ries," and  as  "  The  Waking  Man's  Dreame  "  in  a  collection  of  comic 
stories  by  Richard  Edwards,  published  in  1570.     That  part  relating 


360  INDEX  TO  bHAKSPEBE'S  WORKS. 

to  Bianca  is  founded  on  Ariosto's  "  Gli  Suppositi,"  translated  by 
Gascoigne  with  the  title  "  Supposes."  The  story  of  the  shrew  has 
some  resemblance  to  that  in  an  old  poem,  ''  The  Curst  Wife  Lapped 
in  Morel's  Skin."  The  time  of  tlie  comedy  is  the  time  of  Shak- 
spere, 

"  That  delicious  episode,  the  Induction,  presents  us  "with  a  frag- 
ment of  the  rural  life  with  which  Shakspere  himself  must  have  been 
familiar  in  his  native  county.  With  such  animated  power  is  it  writ- 
ten that  we  almost  appear  personally  to  witness  the  affray  between 
Marian  Racket,  the  fat  ale-wife  of  Wincot.  and  Christopher  Sly ;  to 
see  the  nobleman,  on  his  return  from  the  chase,  discovering  the  in- 
sensible drunkard  ;  and  to  hear  the  strolling  actors  make  the  offer  of 
professional  services  that  was  requited  by  the  cordial  welcome  to  the 
buttery.  Wincot  is  a  secluded  hamlet  near  Stratford-on-Avon,  and 
there  is  an  old  tradition  that  the  ale-house  frequented  by  Sly  was 
often  resorted  to  by  Shakspere  for  the  sake  of  diverting  himself  with 
a  fool  who  belonged  to  a  neighbouring  mill.  Stephen  Sly,  one  of 
the  tinker's  friends  or  relatives,  was  a  known  character  at  Stratford- 
on-Avon,  and  is  several  times  mentioned  in  the  records  of  that  town. 
This  fact,  taken  in  conjunction  with  the  references  to  Wilmecote  and 
Barton-on-the-IIeath,  definitely  prove  that  the  scene  of  the  Induction 
was  intended  to  be  in  the  neighbourhood  of  Stratford-on-Avon,  the 
water-mill  tradition  leading  to  the  belief  that  Little  Wilmecote,  the 
part  of  the  hamlet  nearest  to  the  poet's  native  town,  is  the  Wincot 
alluded  to  in  the  comedy." — Halliwell-Phillipps. 

Taming  school,  a,  Taming  of  the  Shrew,  iv.  2. 

Tamora,  Queen  of  the  Groths,  character  in  Titus  Andronicus, 
first  appears  in  ^.  1  or  S,  as  a  prisoner,  where  she  pleads  for  her  son, 
about  to  be  sacrificed  on  the  tomb  of  the  sons  of  Titus.  She  is  re- 
leased, courted  by  the  emperor,  and  made  empress.  She  asks  the 
pardon  of  Titus  and  his  sons,  intending  to  take  vengeance  on  them 
treacherously.  Her  revenge,  ii.  3 ;  iv.  4. ;  disguises  herself  as  Re- 
venge, i\  2  ;  killed  by  Titus,  i\  3. 

Tamwortli,  a  market-town  on  the  border  of  Staffordshire  and 
Warwickshire ;  plain  near,  scene  of  v.  2  in  Richard  IIL 

Tanlings  (tanned  persons),  Cymbeline,  iv.  Jf.. 

Tanta  est,  Henry  VIIL,  Hi.  1.  .  So  great  is  thy  integrity  of 
mind,  most  serene  queen. 

Tantaene,  etc.,  II.  Henry  VI.,  ii.  1.  "Dwells  such  wrath  in 
celestial  souls  ?  "— Yirgil. 

Tapestry,  often  called  painted  cloth,  J. s  You  Like  It,  Hi.  2 ; 
the  story  of  Cleopatra  in,  Gymheline,  ii.  4 ;  the  siege  of  Troy,  Iju- 
crece,  I.  1367.  Proverbial  phrases  were  often  wrought  on  it.  Turk- 
ish, Comedy  of  Errors,  iv.  1;  Tyrian,  Taming  of  the  Shrew,  ii.  L 


INDEX  TO  SHAKSPERE'S   WORKS,  301 

Tapster,  jests  on  a,  /.  Henry  1 V.,  iL  4;  reckoning  fit  only  for  a, 
Loves  Lahour's  Lost,  i.  2. 

Tardiness,  a,  in  nature,  King  Lear,  i.  1. 

Target,  the  device  of  three  suns  upon  that  of  Edward  IV.,  ///. 
Henry  VL,  ii.  1. 

Tarpeian  rock,  the,  Coriolanus,  in.  1,  2.  A  precipice  near  the 
Capitol,  in  Rome,  from  which  traitors  and  other  malefactoi's  were 
thrown. 

Tarquinius,  Lucius,  surnamed  Superbus,  King  of  Rome,  died 
about  495  b.  c,  Lucrece,  argument  and  poem. 

Tarquinius,  Sextus,  Lucrece,  argument  and  poem. 

Tarquins,  the,  allusions  to,  Titus  Andronicus,  Hi.  1;  iv.  1; 
Coriolanus,  ii.  1,  2 ;  v.  4 ,'  Julius  Ccesar,  ii.  1 ;  Macbeth,  ii.  1 ;  Cym- 
heline,  ii.  2. 

Tarre  (set  on).  King  John,  iv.  1 ;  and  elsewhere. 

Tartar  (Tartarus),  Comedy  of  Errors,  iv.  2 ;  Twelfth  Night,  ii. 
6  ;  Henry  Y.,  ii.  2. 

Tartars  (cruel  and  tawny),  Merry  ^Yives  of  Wiyidsor,  iv.  5  ; 
Midsummer-Nighfs  Dream,  Hi.  2  ;  Merchant  of  Venice,  iv.  1 ;  AlVs 
Well  that  Ends  Well,  iv.  4  >  Romeo  and  Juliet,  i.  4. 

Tassel-gentle,  Romeo  and  Juliet,  ii.  2.  Properly  tercel-gentle, 
as  in  Troilus  and  Cressida,  Hi.  2.  The  male  goshawk,  which  is 
gentle  and  docile. 

Taste,  things  sweet  to,  prove  in  digestion  sour,  Richard  II.,  i.  3. 

Taunts,  Antony  and  Cleopatra,  i.  3. 

Taurus,  born  under,  Twelfth  Night,  i.  3.     See  Astrology. 

Taurus,  character  in  Antony  and  Cleopatra,  introduced  in  Hi. 
8.     Caesar's  lieutenant-general. 

Tavern-bills,  Cymbeline,  v.  4,  "  A  heavy  reckoning." 

Tawdry  lace  (necklace,  or  cheap  lace  sold  at  the  fair  of  St.  Au- 
drey or  Ethelreda),  A  Winter's  Tale,  iv.  3  or  4.  St.  Audrey  was  said 
to  have  been  addicted  to  the  wearing  of  necklaces  in  her  youth,  and 
to  have  died  of  a  swelling  of  the  throat,  as  a  judgment,  she  thought, 
for  her  vanity. 

Tawny  coats,  I.  Henry  VL,  i.  3.  The  color  worn  by  servants 
of  high  dignitaries  of  the  Church. 

Taxation,  excessive,  Richard  II.,  ii.  1;  Henry  VIII.,  i.  2 ; 
Julius  C(Esar,  iv.  3 ;  Titus  Andronicus,  iv.  L    See  Tribute. 

Taxation  (satire).  As  You  Like  It,  i.  2. 

Teaching,  difficulty  of  following  one's  own,  Merchant  of  Venice^ 
i,  2 ;  I,  Henry  VL,  Hi,  1 ;  Hamlet,  i.  3,    ' 


362  INDEX  TO  SHAKSPERE'S  WORKS. 

Tear(s),  decked  the  sea  with,  The  Tempest,  i.  !2 ;  like  winter's 
drops,  The  Tempest,  v.  1;  Silvia's,  Two  Gentlemen  of  Verona,  ii.  3 ; 
ill.  1 ;  of  joy,  Much  Ado  about  Nothing,  i.  1 ;  of  the  deer,  As  You 
Like  It,  ii.  i ;  if  ever  you  have  wiped  a,  As  You  lAke  It,  ii.  7 ;  to 
season  praise,  AWs  Well  that  Ends  Well,  i.  1;  the  rainbow  in, 
^lVs  Well  that  Ends  Well,  i.  3;  drowned  with,  Twelfth  Night,  ii. 
1 ;  not  prone  to,  A  Wi7iter's  Tale,  ii.  1 ;  Arthur's,  King  John,  ii.  1 ; 
jike  a  proud  river,  King  John,  Hi.  1 ;  villainy  is  not  without,  King 
Tohn,  iv.  3 ;  of  a  man.  King  John,  v.  2 ;  Henry  V.,  iv.  6 ;  Henry 
VIIL,  Hi.  2  ;  v,  1 ;  Lucrece,  I.  1790 ;  will  make  foul  weather— de- 
spised— dig  graves  with,  etc.,  Richard  II.,  Hi.  <?;  a  world  of  water, 
/.  He7iry  IV.,  Hi.  1 ;  for  babes,  ///.  Henry  VI.,  ii.  1 ;  with  every 
word,  ///.  Henry  VI.,  v.  4;  millstones  for,  Richard  III.,  i.  3;  the 
watery  morn,  Richard  III.,  ii.  2;  like  honey  on  a  lily,  Titus  An- 
dronicus.  Hi.  1 ;  of  joy,  Timon  of  Athens,  i.  2 ;  Romeo  and  Juliet, 
Hi.  5;  a  house  of,  Romeo  and  Juliet,  iv.  1;  prepare  to  shed,  Julius 
CcBsar,  Hi.  2 ;  I  forbid  my,  Hamlet,  iv.  7  or  4,  endl ;  women's  weap- 
ons. King  Lear,  H.  4  ',  of  Lear,  King  Lear,  Hi.  7  ;  of  Cordelia,  King 
Lear,  iv.  3 ;  crocodile,  II.  Henry  VI.,  Hi.  1 ;  Othello,  iv.  1 ;  where 
be  the  sacred  vials,  Antony  and  Cleopatra,  i.  3 ;  of  Antony,  Antony 
and  Cleopatra,  Hi.  2;  of  despair,  Venus  and  Adonis,  I.  956 ;  of 
sympathy,  Lucrece,  lines  1136,  1270 ;  of  men,  Lucrece,  I.  1790 ;  of 
one  forsaken.  Lover's  Complaint,  lines  40,  50  ;  witchcraft  in,  Lover's 
Complaint,  I.  288 ;  cause  illusions,  Richard  II.,  ii.  2 ;  Titus  and 
Andronicus,  Hi.  2. 

Tearsheet,  Doll.    See  Doll  Tearsheet. 

Te  Deum,  sung,  Henry  V.,  iv.  8 ;  Henry  VIIL,  iv.  1. 

Tediousness,  in  talk,  /.  Henry  IV.,  Hi.  1,  "  I  cannot  choose," 
etc. ;  3Ieasure  for  Measure,  Hi.  1 ;  as  tedious  as  a  king,  Much  Ado 
about  Nothing,  Hi.  5  ;  tedious  and  brief,  Midsummer-Nigh fs  Dream, 
V.  L 

Teen  (anxiety,  sorrow).  The  Tempest,  i.2;  Love's  Labour's  Lost, 
iv.  3  ;  Richard  III,  iv.  1 ;  Romeo  and  Juliet,  i.  3. 

Teeth,  significance  of  being  born  with.  III.  Henry  VI.,  v.  6; 
did  it  from  his,  Antony  and  Cleopatra,  Hi.  4.  Only  outwardly,  not 
from  the  heart.  A  great  man,  I'll  warrant ;  I  know  by  the  picking 
on's  teeth,  WHiter's  Tale,  iv.  3  or  4. 

Telamon  (Ajax),  Antony  and  Cleopatra,  iv.  11  or  13, 12  or  I4. 

Tell  me,  wliere  is  fancy  bred  ?  song.  Merchant  of  Venice, 
Hi.  2. 

Tellus  (the  earth),  Hamlet,  Hi.  2;  Pericles,  iv.  L 


INDEX  TO  SHAKSPERE'S   WORKS.  363 

Temperance,  As  You  Like  It,  ii.  3  ;  ask  God  for,  Henry  VIII. 
i.  1 ;  Othello,  ii.  3. 

Tempest,  a,  foretold,  /.  Henry  IV.,  v.  1;  a,  Julius  Ccesar,  i.  3 ; 
Lear  contending  with  the,  King  Lear,  Hi.  1,  2  ;  ill-omened,  Henry 
VIII.,  i.  1 ;  Macheth,  ii.  3.    See  Storms. 

Tem.pest,  The,  is  one  of  the  latest  of  the  plays  in  date  of  com- 
position, the  evidence  going  to  show  that  it  was  written  in  1610  or 
1611,  subsequently  to  all  the  others  except  A  Winter's  Tale  and 
Henry  VIII.  De  Quincey,  Campbell,  Malone,  Maginn,  and  others 
believe  it  to  be  the  very  last.  The  source  whence  the  story  came  has 
not  been  discovered  ;  but  the  plot  is  said  to  resemble  that  of  "  The 
Beautiful  Sidea,''  by  Jacob  Ayrer,  of  Nuremberg :  and  it  is  thought 
that  both  were  taken  from  some  old  tale  or  play.  The  fanciful  com- 
monwealth described  by  Gonzalo,  ii.  1,  is  borrowed  from  a  transla- 
tion, published  in  1603,  of  Montaigne's  "  Essays." 

" '  The  Tempest '  is  a  specimen  of  the  purely  romantic  drama,  in 
which  the  interest  is  not  historical,  or  dependent  upon  fidelity  of 
portraiture,  or  the  natural  connection  of  events,  but  is  a  birth  of  the 
imagination,  and  rests  only  on  the  coaptation  and  union  of  the  ele- 
ments granted  to,  or  assumed  by,  the  poet.  It  is  a  species  of  drama 
which  owes  no  allegiance  to  time  or  space,  and  in  which,  therefore, 
errors  of  chronology  and  geography— no  mortal  sins  in  any  species 
■ — are  venial  faults,  and  count  for  nothing.  It  addresses  itseK  en- 
tirely to  the  imaginative  faculty." — Coleridge. 

Temple  Garden,  London,  scene  of  /.  Henry  VI.,  ii.  4. 

Temple  Hall,  the,  I.  Henry  IV.,  Hi.  3. 

Temple(s),  the  solemn,  The  Tempest,  iv.  1;  of  the  mind,  Cym- 
beline,  ii.  1 ;  of  the  body,  Hamlet,  i.  3 ;  m  the  forest.  As  You  Like 
It,  Hi.  3. 

Temporary  (time-serving),  Measure  for  lleasure.  v.  1. 

Temporizer,  a,  A  Winter's  Tale,  i.  2,  "  Or  else  a  hovering,"  etc. ; 
policy  of  being  a,  Coriolanus,  iv.  6. 

Temptation(s),  Jleasure  for  31easure,  ii.  1,2  ;  the  struggle  with, 
Julius  CcEsar,  ii.  1,  "  Between  the  acting,"  etc. ;  of  evil  spirits,  3Iac- 
heth,  i.  3  ;  trifling  with,  Othello,  iv.  1 ;  Troilus  and  Cressida,  iv.  4; 
The  Tempest,  iv.  1 ;  Twelfth  Night,  Hi.  4. 

Temptations,  of  life,  A  Winter's  Tale,  i.  2. 

Tenantius,  father  of  Cymbeline,  mentioned  in  i.  1 ;  v.  4. 

Ten  Commandments,  the,  IL  Henry  VI.,  i.  3.  A  common  ex- 
pression  for  the  finger-nails. 

Tender-hested  (tenderly  behested  or  governed).  King  Lear,  ii.  4, 

Tenderness,  in  a  man,  Coriolanus,  v.  3  ;  Cymbeline,  i.  2. 


364  INJJEX  TO  ISHAKSFEUE'S  WORKiS. 

Tenedos,  island  of,  Troilus  and  Cressida,  prologue. 

Tennis,  the  game  of,  //.  Henry  IV.,  ii.  2 ;  Henry  F.,  i.  2, 
"  When  we  have  matched  our  rackets,"  etc. :  the  incident  is  told  in 
the  old  chronicles;  Pericles,  ii.  1;  Henry  VIIL,  i.  3 ;  Hamlet,  ii.l; 
Much  Ado  about  Nothing,  ii.  3. 

Tent  (probe),  Troilus  and  Cressida,  ii.  2 ;  Cymbeline,  Hi.  4; 
Hamlet,  ii.  2 ;  Coriolanus,  Hi.  2,  and  elsewhere. 

Tercel-gentle.     See  Tassel-gentle. 

Tereus,  Titus  Andrcnicus,  ii.  4.  or  5 ;  iv.  1 ;  Cymbeline,  ii.  2 ; 
Lucrece,  I.  113 Jt.;  Passionate  Pilgrim,  xxi.  He  dishonoured  his 
sister-in-law,  Philomela,  and  cut  out  her  tongue ;  she  wrote  his 
crime  in  needlework,  and  was  afterward  changed  into  a  nightingale. 

Termagant,  Hamlet,  Hi.  2.  A  supposed  god  of  the  Saracens, 
introduced  into  the  miracle-plays,  a  noisy  ranter. 

Terminations  (terms),  Much  Ado  about  Nothing,  ii.  1,  "If 
her  breath  were  as  terrible  as  her  terminations,  there  were  no  living 
near  her." 

Terras  Astraea  reliquit,  Titus  Andronicus,  iv.  3.  Astrsea, 
goddess  of  innocence,  left  the  earth  when  it  became  filled  with 
crime,  and  was  placed  among  the  stars,  where  she  became  the  con- 
stellation Virgo. 

Terror,  Macbeth,  Hi.  3  ;  Hamlet,  i.  2.    See  Fear. 

Testament,  one,  like  those  of  worldlings.  As  You  Like  It,  ii.  1 ; 
of  war,  Richard  II.,  Hi.  3 ;  of  love,  Henry  V.,  iv.  6;  of  Lucrece, 
Lucrece,  I.  1183.    See  Wills. 

Tester,  testern,  or  testril.  Two  O-entlemen  of  Verona,  i.  1 ;  Mer- 
ry ^Yives  of  Windsor,  i.  3 ;  Twelfth  Night,  ii.  3.  An  old  French 
coin  varying  in  value  at  different  times  from  six  to  eighteen  pence. 

Tewksbury,  battle  of  (May  14,  1471),  III.  Henry  VI.,  v.  4,  5; 
Richard  III,  i.  2-4  ;  ii.  1 ;  v.  3. 

Tewksbury  mustard,  II.  Henry  IV.,  ii.  4.  Mustard  ground 
and  made  into  balls,  "  the  best  the  world  affords." 

Thaisa,  daughter  of  Simonides,  in  Pericles,  introduced  in  ii,  2 ; 
marries  Pericles,  ii.  5  ;  her  supposed  death.  Hi.  1 ;  her  restoration. 
Hi.  2  ;  goes  to  serve  Diana,  Hi.  4;  is  restored  to  Pericles,  v.  3. 

Thaliard,  a  lord  of  Antioch,  in  Pericles,  introduced  in  i.  1 ;  a 
tool  in  the  hands  of  Antiochus. 

Thanes,  noblemen.  On  the  establishment  of  the  feudal  system, 
after  the  conquest,  the  title  baron  took  tlie  place  of  thane.  It  is 
applied  to  the  Scottish  lords  in  JIacbefli. 

Thanks,  currish.   Two  Gentlemen   of  Verona,  iv.  3 ;  beggarly, 


INDEX  TO  SBAKSFERE'S   WORKS.  365 

^5  You  Like  It,  ii.  5;  good  turns  shuffled  off  with,  Twelfth  Night, 
m.  3;  for  hospitality,  A  Winter's  Tale,  i.  1,  2  ;  the  exchequer  of 
the  poor,  Richard  21.,  ii.  3 ;  honourable  meed  to  men  of  noble 
minds,  Titus  Andronicus,  i,  2  ;  too  dear  at  a  halfpenny,  Hamlet,  ii. 
2  ;  to  God,  //.  Henry  VI.,  i.  1 ;  ii.  1.    See  Gratitude. 

Tharborough.  (third  borough,  a  constable),  Love's  Labour's 
Lost,  i.  1. 

Tharsus,  in  Cilicia,  Asia  Minor,  scene  of  a  part  of  Pericles; 
famine  in,  i.  If.. 

Thasos,  now  Thasso,  an  island  in  the  Grecian  Archipelago, 
Julius  CcBsar,  v.  3. 

That  God  forbid  that  made  me  first  your  slave,  Sonnet 
Iviii. 

That  thou  art  blamed  shall  not  be  thy  defect,  Sonnet  Ixx. 

That  thou  hast  her,  it  is  not  all  my  grief,  Sonnet  zlii. 

That  time  of  year  thou  m.ayst  in  me  behold.  Sonnet  Ixxiii. 

That  you  were  once  unkind  befriends  me  now.  Sonnet  cxx. 

Thaw,  a  man  of  continual  dissolution  and.  Merry  Wives  of 
Windsor,  Hi.  5  ;  duller  than  a  great,  3Iuch  Ado  about  Nothing,  ii.  1. 

Theatre(s),  the  Globe.  See  0,  this  wooden ;  imagination  at  the, 
Henry  V.,  i.,  chorus;  of  the  world,  As  You  Like  It,  ii.  7 ;  "This 
wide  and  universal,"  etc.     See  also  Stage. 

The  expense  of  spirit  in  a  waste  of  shame.  Sonnet  cxxix. 

The  forward  violet  thus  did  I  chide.  Sonnet  xcix. 

The  little  love-god,  lying  once  asleep,  Sonnet  cliv. 

Then  hate  me  when  thou  wilt.  Sonnet  xc. 

Then  let  not  winter's  ragged  hand  deface.  Sonnet  vi. 

Theology,  allusions  to  doctrines  of ;  the  atonement,  Measure  for 
Measure,  ii.  2 ;  "Why  all  the  souls  that  were,"  etc.;  original  sin, 
A  Winters  Tale,  i.  2,  "  The  imposition  hereditary  ours." 

The  other  two,  slight  air  and  purging  fire.  Sonnet  xlv. 

The  poor  fool  sat  sighing,  song,  Othello,  iv.  3. 

Thersites,  a  "  deformed  and  scurrilous  Grecian,"  character  in 
Troilus  and  Cressida,  first  appearing  in  ii.  1. 

"  The  character  of  Thersites,  in  particular,  well  deserves  a  more 
careful  examination,  as  the  Caliban  of  demagogic  life ;  the  admi- 
rable portrait  of  intellectual  power  deserted  by  all  grace,  all  moral 
principle,  all  not  momentary  impulse — just  wise  enough  to  detect 
the  weak  head,  and  fool  enough  to  provoke  the  armed  fist  of  his 
betters ;  one  whom  malcontent  Achilles  can  inveigle  from  malcon- 
tent Ajax,  under  the  one  condition  that  he  shall  be  called  on  to  do 
nothing  but  abuse  and  slander,  and  that  he  shall  be  allowed  to  abuse 

24 


366  IJSWEX  TO  SHAKSPEEE'S   WOliKS. 

as  much  and  as  purulently  as  he  likes,  that  is,  as  he  can ;  in  short,  a 
mule,  quarrelsome  by  the  original  discord  of  his  nature — a  slave  by 
tenure  of  his  own  baseness — made  to  bray  and  be  brayed  at,  to  de- 
spise and  be  despicable." — Coleridge. 

"  From  the  rest,  perhaps  the  character  of  Thersites  deserves  to  be 
selected  (how  cold  and  schooi-boy  a  sketch  in  Homer !)  as  exhibiting 
an  appropriate  vein  of  sarcastic  humour  amid  his  cowardice,  and 
a  profoundness  of  truth  in  his  mode  of  laying  open  the  foibles  of 
those  about  him,  impossible  to  be  excelled." — Godwin. 

Allusion  to  Thersites,  Cymbeline,  iv.  2. 

Theseus,  Duke  of  Athens,  character  in  the  Midsummer-NigM s 
Dream,  introduced  in  the  first  scene.  The  festivities  are  to  grace 
his  marriage  with  Hippolyta. 

He  "  is  Shakspere's  early  ideal  of  a  heroic  warrior  and  man  of 
action.  His  life  is  one  of  splendid  achievement  and  of  joy ;  his  love 
is  a  kind  of  happy  victory,  his  marriage  a  triumph.  From  early 
morning,  when  his  hounds,  themselves  heroic  creatures,  fill  the  val- 
ley with  their  '  musical  confusion '  until  midnight,  when  the  Athe- 
nian clowns  end  their  '  very  tragical  mirth '  with  a  Bergomask 
dance,  Theseus  displays  his  joyous  energy  and  the  graciousness  of 
power." — DowDEN. 

Shakspere,  as  usual,  does  not  attempt  to  follow  the  classic  story 
of  Theseus,  or  give  a  classic  setting  to  the  characters  whose  names 
he  borrows.  Allusion  to  the  perjury  of  Theseus,  his  desertion  of 
Ariadne,  Two  Gentlemen  of  Verona,  iv.  4. 

Thessaly,  the  boar  of,  Antony  and  Cleopatra,  iv,  11  or  13* 
Killed  by  Meleager. 

Thetis,  mother  of  Achilles,  Troilus  and  Cressida,  i.  3. 

They  that  have  power  to  hurt  and  will  do  none,  Sonnet 
xciv. 

Thief,  the  Egyptian.    See  Thyamis. 

Thief  (thieves),  every  man's  apparel  fits,  Pleasure  for  Pleasure, 
iv.  2 ;  called  St.  Nicholas's  clerks,  /.  Henry  IV.,  ii.  1 ;  false  to  one 
another,  1.  Henry  IV.,  ii.  2  ;  doth  fear  each  bush.  III.  Henry  VI.,  r. 
6;  afraid  to  keep,  Troilus  and  Cressida,  ii.  2 ;  the  sun,  moon,  sea. 
earth,  and  all  things  are,  Timon  of  Athens,  iv.  3,  "Nor  on  the  beasts." 
etc. ;  which  is  the.  King  Lear,  iv.  6 ;  what  simple,  brags  of  his  own 
attaint.  Comedy  of  Errors,  Hi.  2. 

Thievery,  an  honourable  kind  of.  Two  Gentlemen  of  Verona, 
iv.  1 ;  he  will  steal  an  egg  out  of  a  cloister,  AlVs  Well  that  Eiid.s 
Well,  iv.  3  ;  of  injurious  time,  Troilus  and  Cressida,  iv.  4. 

Thin,  too.  Henry   VIII.,  v.  3. 

Thine  eyes  I  love,  and  they,  as  pitying  me.  Sonnet  cxxxii. 


INDEX  TO  SHAKSPERE'S  WORKS.  367 

Things,  ill-got,  have  bad  success.  III.  Henry  VI.,  ii.  2 ; 
bad  begun,  31achetli,  iii.  2. 

Thinking,  makes  good  or  bad,  Hamlet,  ii.  2  ;  too  much,  makes 
dangerous,  Julius  Ccesar,  i.  2. 

Thisbe,  character  in  the  play  acted  before  the  duke  in  v.  1  of 
the  Midsummer-Nighfs  Dream.  The  part  is  taken  by  Flute.  Allu- 
sions to,  Iferchant  of  Venice,  v.  1 ;  Romeo  and  Juliet,  ii.  4. 

Thomas,  a  friar  in  Pleasure  for  Measure,  introduced  in  i.  If.. 

Thorn-bush,  in  the  moon,  3Iidsummer-Nighfs  Dream,  v.  1. 

Those  hours  that  with  gentle  work  did  frame.  Son- 
net V. 

Those  lines  that  I  before  have  writ  do  lie.  Sonnet  cxv. 

Those  lips  that  love's  own  hand  did  make.  Sonnet  cxlv. 

Those  parts  of  thee  that  the  world's  eye  doth  view. 
Sonnet  Ixix. 

Those  pretty  wrongs  that  liberty  commits.  Sonnet  xli. 

Thou,  use  of  (an  assumption  of  superiority  by  the  speaker), 
Twelfth  Night,  iii.  2,  "  If  thou  thoust  him." 

Thou  art  as  tyrranous  so  as  thou  art,  Sonnet  cxxxi. 

Thou  blind  fool,  love,  Sonnet  cxxxvii. 

Thought,  the  slave  of  life.  I.  Henry  IV.,  v.  4 ;  that  keeps  the 
roadway,  //.  Henry  IV.,  ii.  2  ;  sessions  of  sweet  silent,  Sonnet  xxx. ; 
annihilates  distance.  Sonnet  xliv  ;  quickness  of,  Henry  V.,  i.,  chorus  ; 
the  quick  forge  and  working  house  of,  Henry  V.,  v.,  chorus. 

Thought(s),  Heaven  make  you  better  than  your,  Merry  Wives 
of  Windsor,  iii.  3  ;  are  no  subjects,  Measure  for  Measure,  v.  i  ;  a 
woman's,  As  You  Like  It,  iv.  1;  in  solitude,  Richard  II.,  v.  5; 
like  unbridled  children,  Troilus  and  Cressida,  iii.  2 ;  murder  in, 
fantastical,  Macleth,  i.  3 ;  \n  repose,  Macbeth,  ii.  1;  our  worser, 
Heaven  made,  Antony  and  Cleopatra,  i.  2 ;  give  no  unproportioned, 
his  act,  Hamlet,  i.  3 ;  our,  are  ours ;  their  ends,  none  of  our  own, 
Hamlet,  iii.  2 ;  exciting,  Henry  VIII.,  iii.  2 ;  sky-aspiring  and  am- 
bitious, Richard  II.,  i.  3 ;  to  thick  the  blood,  Winter's  Tale,  i.  2 ; 
whirled  like  a  potter's  wheel,  I.  Henry  VI.,  i.  4. 

Thrasonical  (boastful),  Love's  Labour's  Lost,  v.  1 ;  As  You  Like 
It,  V.  2.  Thraso  was  the  name  of  a  boastful,  swaggering  soldier  in 
Terence's  "  Eunuchus." 

Threats,  The  Tempest,  i.  2, "  If  thou  more  murmurest,"  etc. ;  As 
You  Like  It,  v,  1 ;  A  Winter's  Tale,  iii.  2 ;  I.  Henry  VI.,  ii.  4,  "I'll 
note  you,"  etc. ;  Hamlet,  i.  4;  v.  1 ;  King  Lear,  i.  4  ;  Othello,  ii.  3, 
"  He  that  stirs  next,"  etc. ;  Antojiy  and  Cleopatra,  ii.  5,  "  Hence, 


368  INDEX  TO  SHAKSPERE'S  WORKS. 

horrible  villain,"  etc. ;  Richard  III.,  i.  2  ;  iv.Jf.;  I,  Henry  VI.,  i.  2  ; 
III.  Henry  VI.,  ii.  1 ;  Romeo  and  Juliet,  v.  S. 

Three  farthings,  look  where,  goes.  King  John,  i.  1.  Allusion 
to  a  thin  silver  coin  having  the  head  of  Elizabeth  on  one  side  and  a 
rose  on  the  other. 

Three  Pile,  Master,  a  merchant  mentioned  in  Measure  for 
Measure,  iv.  3. 

Threnos,  The  Phoenix  and  the  Turtle. 

Thrift,  French,  the  humour  of  the  age,  Merry  Wives  of  Wind- 
sor, i.  3 ;  called  interest — is  blessing,  Merchant  of  Venice,  i.  3 ;  the 
funeral  baked  meats  do  coldly  furnish  forth  the  marriage  tables, 
Hamlet,  i .  2. 

Throngs,  foolishness  of.  Measure  for  Measure,  ii.  4.. 

Thrummed  hat,  a,  Merry  Wives  of  Windsor,  iv.  2,  One  made 
of  weavers'  thrums. 

Thumb,  biting  the,  an  insult,  Romeo  and  Juliet,  i.  1 ;  pricking 
of  the,  indicates  the  approach  of  something  evil,  Macbeth,  iv.  1. 

Thumb-ring,  an  alderman's,  I.  Henry  IV.,  ii.  4. 

Thunder,  how  great  men  would  use.  Measure  for  Measure,  ii.  2  ; 
tears  the  cloudy  cheeks  of  Heaven,  Richard  II.,  Hi.  3 ;  appeal  to, 
King  Lear,  Hi.  2 ;  thunder-bearer,  darter,  or  master  (Jove),  Lear,  ii.  4 ,' 
Cymheline,  v.  4  ;  Troilus  and  Cressida,  ii.  3.   See  Storm  and  Tempest. 

Thunderbolt,  if  I  had  a,  in  mine  eye,  As  You  Like  It,  i.  2. 

Thunder-stone,  the,  Othello,  v.  2 ;  Cymheline,  iv.  2. 

Thunder-storms,  The  Tempest,  Hi.  3 ;  v.  1;  Julius  Ccesar,  i. 
3;  Macheth,  i.  L 

Thurio,  character  in  the  Two  Gentlemen  of  Verona,  introduced 
in  ii.  4.,  "  a  foolish  rival  to  Valentine,"  who  falls  an  easy  victim  to 
the  schenje  of  Proteus. 

Thus  can  my  love  excuse  the  slow  oflfence.  Sonnet  Ii. 

Thus  is  his  cheek  the  map  of  days  outworn,  So7inet  Ixviii. 

Thyamis,  an  Egyptian  robber-chief,  who  killed,  or  attempted  to 
kill,  his  mistress  before  he  was  slain  by  his  enemies,  spoken  of  by 
the  duke  in  Twelfth  Night,  v.  1. 

Thy  bosom  is  endeared  with  all  hearts,  Sonnet  xxxi. 

Thy  gift,  thy  tables,  are  written  in  my  brain,  Sonnet 
cxxii. 

Thy  glass  will  show  thee  how  thy  beauties  wear,  Sonnet 
Ixxvii. 

Thy  reus,  character  in  Antony  and  Cleopatra,  introduced  in  Hi. 
12,  a  friend  of  Caesar ;  his  message  and  whipping.  Hi.  11  or  13. 


INDEX  TO  SHAKSPERE'S    WOMKS.  369 

Tib  and  Tom,  Airs  Well  that  Ends  Well,  ii.  2.  Jack  and 
Jill. 

Tiber,  the  troubled,  Julius  Ccesar,  i.  1 ;  swum  by  Cassius  and 
CaBsar,  Julius  CcBsar,  i.  2. 

Tickle-apt  (dangerous  to  touch),  Coriolanus,  in.  2. 

Tide,  a,  in  the  affairs  of  men,  Julius  Ccesar,  iv.  3 ;  death  sup- 
posed to  occur  at  turn  of  the,  Henry  V.,  ii.  3. 

Tides,  high  (times  to  be  observed),  King  John^  Hi.  1 ;  governed 
by  the  moon,  /.  Henry  1 V.,  i.  2  ;  three,  without  ebb,  ominous,  //. 
Henry  /F.,  iv.  4- 

Tiger,  a,  raging  in  a  storm,  Troilus  and  Cressida,  i.  3. 

Tiger,  the,  name  of  an  inn.  Comedy  of  Errors,  Hi.  1. 

Tile,  the  next  that  falls,  AlVs  Well  thatEnds  Well,  iv.  3.  Allu- 
sion, perhaps,  to  the  story  of  a  woman  who  laughed  at  a  prophecy 
that  she  should  die  before  her  companions,  and  was  immediately 
killed  by  a  falling  tile. 

TUley-valley  (fudge).  Twelfth  Night,  ii.  3;  II.  Henry  IV., 
ii.  4. 

Tilth,  (land  ready  to  sow),  Measure  for  Pleasure,  iv.  1. 

Timandra,  a  mistress  to  Alcibiades,  character  in  Timon  of  Ath- 
ens, introduced  in  iv.  3. 

Time,  goes  upright.  The  Tempest,  v.  1 ;  sweet  benefit  of,  Two 
Gentlemen  of  Verona,  ii.  4>  nurse  of  all  good.  Two  Gentlemen  of 
Verona,  Hi.  1 ;  master  of  men,  Comedy  of  Errors,  ii.  i;  a  bankrupt, 
Comedy  of  Errors,  iv.  2;  cormorant.  Love's  Labour's  Lost,  i.  1; 
haste  of,  decides,  Love's  Labour'' s  Lost,  v.  2 ;  hath  not  so  dried, 
Much  Ado  about  Nothing,  iv.  1 ;  slowness  of,  Midsummer-Nighfs 
Dream,  i.  1 ;  travels  in  divers  places.  As  You  Like  It,  Hi.  2 ;  the 
old,  As  You  Like  It,  iv.  1 ;  use  the  present,  AlVs  Well  that  Ends 
Well,  V.  3;  Richard  III,  iv.  1 ;  Hamlet,  iv.  7 ;  the  whirligig  of, 
Twelfth  Night,  v.  1;  wasted.  Twelfth  Night,  Hi.  1 ;  Richard  II.,  v.  5 ; 
•must  have  a  stop,  L  Henry  IV.,  v.  4;  hath  a  wallet  wherein  he 
puts  alms  for  oblivion,  Troilus  a7id  Cressida,  Hi  3 ;  like  a  fashion- 
able host,  Troilus  and  Cressida,  Hi.  3  ;  old  common  arbitrator — 
past  and  to  come,  Troilus  and  Cressida,  iv.  5  ;  eyes  and  ears  for  the, 
Coriolanus,  ii.  1 ;  and  the  hour,  Macbeth,  i.  3 ;  the  last  syllable  of, 
Macbeth,  v.  5  ;  the,  out  of  joint,  Hamlet,  i.  5  ;  modifies  love,  Hamlet, 
iv.  7  or  4;  shall  unfold  what  plaited  cunning  hides.  King  Lear, 
i.  1 ;  men  are  as  the,  King  Lear,  v.  3 ;  king  of  men,  Pericles,  ii.  3  ; 
waste  not,  Venus  and  Adonis,  I.  129 ;  ravages  of.  Sonnets,  v.,  ix., 
xii.,  XV..  xvi.,  Ix.,  Ixiv.,  Ixv.,  c. ;  defeated  by  verse,  Sonnet,  xix. ; 


370  INDEX  TO  SHAKSPERE'S  WORKS. 

wasted,  Sonnet,  xxx. ;  thievish  progress  of,  Sonnet,  Ixvii. ;  changes 
of,  Sonnet,  cxv. ;  love  not  the  fool  of,  Sonnet,  cxvi. ;  defied,  Sonnet, 
cxxiii. ;  misshapen,  Lucrece,  I.  925 ;  office  and  glory  of,  Lucrece,  I. 
936  ;  slow  to  watchers,  Lucrece,  I.  1573.     See  Life. 

Time,  as  Chorus,  enters  and  speaks  in  A  Winter'' s  Tale,  iv.  1, 
explaining  that  sixteen  years  have  passed  since  the  last  act,  during 
which  time  Perdita  has  grown  up  as  the  shepherd's  daughter  and 
Florizel  has  become  a  man.  This  speech  is  judged  not  to  be  by 
Shakspere,  and  has  been  attributed  to  Chapman. 

Timeless  (untimely),  Richard  III.,  i.  2,  and  elsewhere. 

Times,  wild,  II.  Henry  IV..  i.  1 ;  evil,  Macbeth,  iv.  3. 

Time-serving,  King  John,  Hi.  1;  King  Lear,  ii.  If.;  Measure 
for  Measure,  v.  1 ;  Twelfth  Night,  H.  3. 

Timidity.     See  Cowardice. 

Tim.on,  a  noble  of  Athens,  introduced  in  i.  1,  where  his  gen- 
erosity is  exhibited  and  praised ;  his  extravagance  in  liberality, 
ii.  1,  2 ;  confidence  in  his  friends,  ii.  2 ;  they  fail  him.  Hi.  1-4; 
his  last  banquet.  Hi.  6 ;  he  leaves  Athens,  iv.  1 ;  in  the  cave,  iv.  3 ; 
his  death  and  epitaph,  v.  3,  4-  Excessive  and  immoderate  in  every- 
thing, Timon  passes  from  his  lavish  liberality  and  belief  in  the  vir- 
tue of  all  mankind  to  excessive  distrust  and  hatred,  forsakes  the 
haunts  of  men,  and  hurls  revilings  and  curses  at  all  with  little  dis- 
crimination. 

"  But  Timon  can  only  rage  and  then  die.  His  rage  implies  the 
elements  of  a  possible  nobleness  in  him  ;  he  cannot  acclimatize  him- 
self, as  Alcibiades  can,  to  the  harsh  and  polluted  air  of  the  world  ; 
yet  the  rage  also  proceeds  from  a  weakness  of  nature." — Dowden. 

'•  Insanity  arising  from  pride  is  the  key  to  the  whole  character  ; 
pride  indulged  manifesting  itself  indirectly  in  insane  prodigality ; 
pride  mortified,  directly  in  insane  hatred." — Maginn. 

Allusion  to  "  Critic  Timon,"  Love's  Lahour^s  Lost,  iv.  3. 

Timon  of  Athens,  a  play  first  published  in  the  folio  of  1623, 
and  supposed  to  have  been  written  within  the  period  from  1602  to " 
1608.  The  sources  whence  the  material  was  drawn  were  Plutarch's 
"  Life  of  Marcus  Antonius,"  and  Lucian's  dialogue  "  Timon,  or  the 
Man-Hater,"  and  perhaps  an  old  play  that  has  been  found  in 
manuscript,  and  is  supposed  to  date  from  1600  or  earlier,  though  it 
is  very  doubtful  whether  Shakspere  had  ever  seen  it.  The  critics 
are  generally  agreed  that  a  large  portion  of  the  play  is  from  the 
hand  of  some  other  writer  than  Shakspere,  who  was  either  a  co-* 
labourer  with  him,  wrote  a  play  that  Shakspere  took  up  and  altered, 
or  filled  out  a  partly  finished  and  abandoned  work  of   his.    The 


INDEX  TO  SHAKSPERE'S  WORKS.  371 

parts  not  his  are  supposed  to  be  the  greater  part  of  i.  1  after  Ape- 
mantiis  enters,  and  the  remainder  of  the  act;  the  passage  in  ii. 
^,  in  which  the  fool  appears ;  the  greater  part  of  Act  Hi.,  though 
Mr.  White  attributes  the  latter  part  of  the  first  scene  to  Shakspere ; 
the  latter  part  of  the  speech  of  the  steward  in  iv.  2  ;  the  third  scene 
in  Act  v.,  and  perhaps  the  second.  The  time  of  the  drama  is  that 
of  the  Peloponnesian  war,  b.  c.  431-404. 

Tinct  (tincture,  the  grand  elixir  of  the  alchemists),  All's  Well 
that  Ends  Well,  v.  3. 

Tinkers,  song  of,  A  Winter's  Tale,  iv.  2  or  3. 

Tire  (to  feed  ravenously),  ///.  Henry  VI.,  i.  1 ;  Gymbeline,  Hi. 
4  ;   Venus  and  Adonis,  I.  56  ;  Timon  of  Athens.  Hi.  6. 

Tired  with  all  these,  for  restful  death  I  cry.  Sonnet  Ixvi. 

Tires,  different  kinds  of.  Merry  Wives  of  Windsor,  Hi.  3. 

'Tis  better  to  be  vile  than  vile  esteemed,  Sonnet  cxxi. 

Titan  (the  sun),  /.  Henry  IV.,  ii.  4;  Cymbeline,  Hi.  4.;  Romeo 
and  Juliet,  H.  3 ;   Venus  and  Adonis,  I.  117. 

Titania,  queen  of  the  fairies,  introduced  in  H.  1,  Midsummer- 
Nighfs  Dream,  the  same  character  as  Queen  Mab.  The  name 
Titania  is  adopted  from  Ovid,  who  uses  it  for  Diana.     See  Fairies. 

Tithe-tilth,  Jleasure  for  Measure,  iv.  1,  end. 

Titinius,  a  friend  of  Brutus  in  Julius  Ccesar,  appears  in  iv.  2 ; 
dies  on  the  sword  of  Cassius,  v.  3. 

Title(s),  of  the  king,  the,  /.  Henry  IV.,  iv.  2,  end ;  bought  too 
dear,  a,  I.  Henry  IV.,  v.  3  ;  Titus  Andronicus,  i.  2 ;  ii.  5 ;  Troilus 
and  Cressida,  v.  11 ;  Gymbeline,  Hi.  4 ;  Romeo  and  Juliet,  ii.  3 ; 
I.  Henry  VI.,  iv.  7  ;  like  a  giant's  robe  upon  a  dwarfish  thief,  3Iac- 
heth,  V.  2. 

Title-leaf,  a  brow  like  that  of  a  tragedy,  II.  Henry  IV.,  i.  1. 

Titus,  servant  of  one  of  the  creditors  of  Timon  of  Athens,  in- 
troduced in  Hi.  4. 

Titus  Andronicus,  character  in  the  play  of  that  name,  a  noble 
Roman,  and  general  of  an  army  sent  against  the  Goths.  He  first 
appears  in  Act  i.,  scene  1  or  2,  having  returned  with  prisoners  and 
the  bodies  of  his  slain  sons,  and  recommends  Saturninus  as  emper- 
or; pleads  for  his  sons  and  gives  his  hand  for  them.  Hi.  1 ;  his 
ravings.  Hi.  2 ;  iv.  3  ;  his  letters  to  the  gods,  iv.  3,  4;  kills  Tamo- 
ra's  sons,  v.  2 ;  kills  Lavinia  and  Tamora,  v.  3  ;  is  killed  by  Satur- 
ninus, V.  3. 

Titus  Andronicus,  a  tragedy  supposed  to  have  been  printed  as 
early  as  1594,  though  no  edition  earlier  than  one  of  1600  is  known  to 


372  INDEX  TO  SHAKSPERE'S  WORKS. 

be  now  in  existence.  It  is  known  to  have  been  very  popular  on 
the  stage.  Many  critics  held  the  opinion  that  it  was  not  Shak- 
spere's,  basing  the  opinion  mainly  on  the  repulsive  and  inartistic 
brutality  of  the  plot ;  some  think  that  he  may  have  been  the  author 
of  some  passages,  or  have  touched  up  the  whole  play.  Coleridge  re- 
jects it  on  the  evidence  of  measure,  though  he  thinks  it  not  im- 
probable that  some  passages  were  written  by  Shakspere.  Others, 
again,  believe  the  play  to  be  mainly  his  own,  and  suppose  it  to  be 
his  first  tragedy,  written  when  his  powers  were  undeveloped  in  that 
direction,  and  that  he  may  possibly  have  had  one  or  more  co-labour- 
ers w^ho  introduced  the  Latin  quotations.  Its  date  is  fixed  between 
1585  and  1590  by  an  allusion  to  it  in  Ben  Jonson's  "Bartholomew 
Fair."    The  incidents  are  taken  from  an  old  mediaeval  story. 

"  The  incidents  and  revolutions  of  fortune  are  horrible  in  the 
highest  degree  ;  and  in  this  respect  the  play  as  much  surpasses  Mar- 
low^e's  well-known  pieces  of  violence  and  rage  as  it  is  superior  to 
them  in  tragic  energy  and  moral  earnestness.  The  most  fearful 
crimes  are  rapidly  accumulated  with  steadily  advancing  enormity. 
When  we  think  we  have  reached  the  summit  of  these  most  unnatural 
cruelties  and  vices,  the  next  scene  suddenly  opens  to  our  view  a  still 
higher  ascent.  The  characters  are  sketches  done  with  the  coarsest 
touches  and  darkest  colouring.  .  ,  .  That,  nevertheless,  this  drama 
is  rich  in  isolated  beauties,  profound  thoughts,  and  striking  peculi- 
arities— Shaksperean  imagery  which  like  lightning  flashes  over  and 
illuminates  the  whole  piece,  and  that  single  scenes  are  even  deeply 
affecting  and  highly  poetical — is  generally  admitted  and  requires  no 
proof." — Ulrici. 

To,  used  as  an  augmentative  of  a  verb.  Merry  Wives  of  Windsor, 
iv.  4.  To  pinch,  to  bepinch,  or  cover  with  pinches.  Spenser  and 
Milton  use  it  with  all  prefixed. 

Toad,  the  jewel  in  the  head  of  the.  As  You  Like  It,  ii.  1.  This 
stone  was  supposed  to  possess  medicinal  virtue ;  changed  eyes  with 
the  lark,  Romeo  and  Juliet,  Hi.  5  ;  used  by  witches,  Macbeth,  iv.  1 ; 
paddock,  Macbeth,  i.  1 ;  called  poisonous,  As  You  Like  It,  ii.  1 ; 
Richard  III,  i.  2,  3. 

Toasts  and  butter,  /.  Henry  lY.,  iv.  2.  Cockneys;  called 
eaters  of  buttered  toasts. 

Tod,  a  (twenty-eight  pounds  of  wool),  A  Winter's  Tale,  iv.  2  or  S. 

Tokens,  the  Lord's,  plague-spots  so  called,  Love's  Labour's  Lost, 
V.  2 ;  tokened  pestilence,  Antony  and  Cleopatra,  Hi.  10 ;  death- 
tokens,  Troilus  and  Cressida,  ii.  3. 

Toledo,  archbishopric  of,  desy-ed  by  Wolsey,  Henry  VIII.,  ii.  1. 
The  richest  see  in  Europe. 


INDEX  TO  SHAKSPERE'S   WORKS.  373 

Toll,  AWs  Well  that  Ends  Well,  v.  3.  Pay  toll  for,  set  up  to 
be  bought ;  the  bee,  tolling  from  every  flower,  II.  Henry  IV.,  iv.  4. 

Tom,  poor,  or  Tom  o'  Bedlam,  Ki7ig  Lear,  i.  2  ;  Hi.  4. 

Tomb,  if  a  man  do  not  erect  his  own.  Much  Ado  about  Nothing, 
V.  2 ;  fame  registered  on  the.  Love's  Labour's  Lost,  i,  1;  epitaphs 
on.  Much  Ado  about  Nothing,  iv.  1 ;  v.  1 ;  Henry  V.,  i.  2.   See  Grave. 

To  me,  fair  friend,  you  never  can  be  old.  Sonnet  civ. 

To-morrow  creeps  in  this  petty  pace  from  day  to  day,  Macbeth, 
V.  5  ;  is  St.  Valentine's  day,  song,  Hamlet,  iv.  5  or  2. 

Tomyris,  Scythian,  I.  Henry  VI.,  ii.  3. 

Tongs  and  bones,  for  music,  Midsummer-Nighfs  Dream,  iv.  1. 

Tongue(s),  drowned  in  sack,  The  Tempest,  Hi.  2 ;  a  man  that 
cannot  win  a  woman  with,  Two  Gentlemen  of  Verona.  Hi.  1 ;  far 
from  the  heart,  Measure  for  Pleasure,  i.  5  ;  the  slanderer's,  Measure 
for  Measure,  Hi.  2 ;  losing  the,  a  penalty.  Love's  Labom^'s  Lost,  i. 
1;  swiftness  of,  3Iuch  Ado  about  Nothing,  i.  1;  Hi.  2;  weights 
upon  the,  As  You  Like  It,  i.  2  ;  an  ungoverned,  AlVs  Well  that  Eiids 
Well,  ii.  If.,  "  Many  a  man's  tongue  shakes  out  his  master's  undo- 
ing;" an  officious,  AlVs  Well  that  Ends  Well,  iv.  1;  stopping  a 
woman's,  A  Winter's  Tale,  ii.  3  ;  fellows  of  infinite,  Henry  V.,  v.  2  ; 
charm  (silence)  thy,  II  Henry  VI.,  iv.  1 ;  engine  of  thoughts,  Titus 
Andronicus,  Hi.  1 :  blisters  on  the,  for  falsehood,  A  Winter's  Tale, 
ii.  2 ;  Timon  of  Athens,  v.  1;  in  trees.  As  You  Like  It,  ii.  1 ;  of 
dying  men,  enforce  attention,  Richard  II,,  ii.  1 ;  of  the  bringer  of 
ill  news,  //.  Henry  1 V.,  i.  1 ;  speaking  is  for  beggars,  Troilus  and 
Cressida,  Hi.  3  ;  a,  swift,  Comedy  of  Errors,  i.  1 ;  be  not  thy  tongue 
thy  own  shame's  orator.  Comedy  of  Errors,  Hi.  2.     See  Words. 

Tongues  (languages),  I  would  I  had  bestowed  the  time  in  the. 
Twelfth  Night,  i.  3. 

Tool(s),  The  Tempest,  ii.  1,  "They  take  suggestion  as  a  cat  laps 
milk,"  etc. ;  Lepidus  a,  Julius  Ccesar,  iv.  1. 

Toothache,  the,  Much  Ado  about  Nothing,  Hi.  2 ;  v.  1.  It 
was  supposed  to  be  caused  by  a  worm  that  gnawed  a  hole  in  the 
tooth  ;  he  that  sleeps  feels  not,  Gymbeline  v.  4. 

Topas,  Sir,  a  curate,  Twelfth  Night,  iv.  2. 

Topless  (supreme),  Troilus  and  Cressida,  i.  3. 

Torches,  virtues  like,  Measure  for  Measure,  i.  1. 

Torfin.     See  Caithness. 

Torments,  by  magic  art.  The  Tempest,  iv.  1. 

Tortive  (twisted),  Troilus  and  Cressida.  i.  3. 

Tortoise,  a,  Romeo  and  Juliet,  v.  1 ;  Caliban  a.  The  Tempest,  i.  2. 


374  INDEX  TO  SHAKSPERE'S  WORKS. 

Tortures,  of  a  tyrant,  A  Winter's  Tale,  Hi.  2;  described  by 
Aiitolycus,  iv.  3  or  4,  near  end  ;  death  by,  Cymheline.  iv.  4. 

Toryne,  taken  by  Caesar,  Antony  and  Cleopatra,  Hi.  7. 

To  shallow  rivers,  song  by  Christopher  Marlowe,  Merry  Wives 
of  Windsor,  Hi.  1. 

Touch,  play  the,  Richard  III.,  iv.  2 ;  to  test  as  by  touchstone ; 
of  hearts,  Timon  of  Athens,  iv.  8 ;  of  the  king,  for  disease,  Macbeth, 
iv.  3  ;  one  toucli  of  nature  makes  the  whole  world  kin,  Troilus  and 
Cressida,  Hi.  3. 

Touchstone,  the  clown  in  As  You  Like  It,  introduced  in  i.  2. 

"  Touchstone  is  the  daintiest  fool  of  the  comedies,  and  when  we 
compare  him  with  the  clowns  of  the  '  Comedy  of  Errors '  or  the 
'  Two  Gentlemen  of  Verona.'  we  perceive  how  Shakspere's  humour 
has  grown  in  refinement." — Dowden. 

"  He  is  a  genuine  old  English  clown  in  the  Shaksperean  form,  a 
fool  with  the  jingling  cap  and  bells,  one  who  is  and  wishes  to  be  a 
fool ;  the  same  personiflcation  of  caprice  and  ridicule,  and  with  the 
same  keen  perception  of  the  faults  and  failings  of  mankind,  as 
Jaques ;  but  a  fool  with  his  own  knowledge  and  consent,  and  not 
merely  passive  but  active  also.  He  speaks,  acts,  and  directs  his 
whole  life  in  accordance  with  the  capricious  folly  and  foolish  capri- 
ciousness  which  he  considers  to  be  the  principle  of  human  exist- 
ence."— Ulrici. 

Tournament,  a,  Pericles,  ii.  2. 

Tours,  II.  Henry  YL,  i.  1. 

Touse  (to  pull,  tear),  Measure  for  Measure,  v.  1. 

Toward  (at  hand,  coming),  Romeo  and  Jidiet,  1.  5 ;  Timon  of 
Alliens,  Hi.  6  ;  King  Lear,  iv.  6 ;  Antony  and  Cleopatra,  ii.  6. 

Tower  Hill.     See  Limehouse. 

Tower  of  London,  the,  scene  of  a  part  of  Richard  III.  Julius 
Cassar's  ill-erected  (for  ill  purposes),  Richard  II.,  v.  L  Tradition 
says  that  CaBsar  built  the  original  part  of  the  tower.  It  is  again 
spoken  of  in  Richard  III,  Hi.  1. 

Tower  (to  soar,  a  term  in  falconry),  King  John,  v.  2 ;  II.  Henry 
VI.,  ii.  1 ;  Macbeth,  ii.  4. 

Towers,  cloud-capped,  The  Tempest,  iv.  1,  air-braving,  1.  Henry 
YL,  iv.  2. 

Towton,  in  the  West  Riding  of  Yorkshire,  battle  of  (March  29, 
1461),  III  Henry  YL,  ii.  3-6. 

Toy  (whim),  Romeo  and  Juliet,  iv.  1 ;  I.  Henry  YL,  iv,  L 

Toys  (idle  rumours),  King  John,  i.  1,  and  elsewhere. 

Tract  (course),  Henry  YIIL,  i.  1. 

Trade  (road  or  way),  Henry  YIIL,  v.  1. 


INDEX  TO  SHAKSPERE'S  WORKS,  375 

Tradition,  respect  for,  thrown  away,  Richard  II.,  iii.  S, 

Tragedian,  counterfeit  the,  Richard  HI,  iii.  5. 

Train,  of  a  gown,  worth  of,  //.  Henry  VI,  i.  3. 

Traitor(s),  all,  profess  loyalty.  As  You  Like  It,  i.  3 ;  plot 
against  a,  AWs  Well  thai  Ends  Well,  iii.  6 ;  iv.  1;  a  place  in  the 
world  for — we  are  our  own.  All's  Well  that  Ends  Well,  iv.  3  ;  treat- 
ment of  one  deemed  a,  Richard  II,  iii.  1 ;  curse  on,  Richard  II, 
iii.  2 ;  treatment  of,  Henry  V.,  ii.  2 ;  to  his  country,  a,  Coriolanus, 
V.  3 ;  Macheth,  iv.  2  ;  a,  toad-spotted,  King  Lear,  v.  3 ;  a  passing, 
III  Henry  VI,  v.  1 ;  a.  giant,  Henry  VlII,  i.  2 ;  in  a  worse  case 
than  the  betrayed,  Cymbeline,  iii.  4.     See  Judas. 

Traject  (ferry).  Merchant  of  Venice,  iii.  4. 

Trammel  (to  tie),  3Iacbeth,  i.  7. 

Trances,  Romeo  and  Juliet,  iv.  1,  3  ;  v.  3 ;  Othello,  iv.  1 ;  Peri- 
cles, Hi.  2. 

Tranio,  a  servant  of  Lucentio  in  the  Taming  of  the  Shrew, 
who  assumes  his  master's  name  and  carries  out  the  part  with  great 
cleverness,  introduced  in  i.  1. 

Translation,  of  Bottom,  Midsummer-Nighfs  Dream,  iii.  1;  out 
of  honesty  into  English,  Merry  Wives  of  Windsor,  i.  3. 

Transmigration,  of  souls,  allusions  to  the  doctrine  of,  Mer- 
charit  of  Venice,  iv.  1 ;  As  You  Like  It,  iii.  2,  "  since  Pythagoras's 
time ;  "  Twelfth  Night,  iv.  2. 

Trappings,  of  woe,  Hamlet,  i.  2. 

Traps,  some  Cupid  kills  with.  Much  Ado  about  Nothing,  iii.  1. 

Trash  (to  check,  a  hunting-word).  The  Tempest,  i.  2. 

Travel,  advantages  of.  Two  Gentlemen  of  Verona,  i.  1,  3 ;  mel- 
ancholy induced  by.  As  You  Like  It,  iv.  1 ;  need  of,  to  persons  of 
rank,  King  John,  i.  1 ;  company  in,  Richard  II,  ii.  3 ;  all  places 
that  the  eye  of  heaven  visits  are  to  the  wise  man  ports  and  happy 
havens,  Richard  II. ,  i.  3. 

Traveller(s),  lying,  The  Tempest,  iii.  3 ;  Love's  Labour's  Lost, 
i.  1;  AWs  Well  that  Ends  Well,  ii.  5 ;  must  be  content.  As  You 
Like  It,  ii.  4 ;  marks  of — sell  their  own  lands  to  see  other  men's, 
As  You  Like  It,  iv.  1 ;  satire  on  a — Faulconbridge,  Merchant  of 
Venice,  i.  2 ;  Henry  VIII,  i.  3. 

Travers,  a  retainer  of  Northumberland  in  II.  Henry  IV.,  intro- 
duced in  i.  1. 

Traverse,  Othello,  i.  3,  and  elsewhere.  A  fencing  term,  mean- 
ing, to  take  a  posture  of  opposition. 

Tray,  Blanche  and  Sweetheart,  King  Lear,  Hi.  6. 


376  INDEX  TO  SHAKSPERE'S   WORKS, 

Tray-trip  (an  old  game,  played  with  cards  and  dice),  Twelfth 
Night,  ii.  5. 

Treachery,  Two  Gentlemen  of  Verona,  ii.  6  ;  Hi.  1 ;  of  Parolles, 
AlVs  Well  that  Ends  Well,  iv.  1,  3 ;  composed  and  framed  of.  Much 
Ado  about  Nothing,  v.  1;  of  the  dauphin,  ^in^  John,  v.  4;  see 
Melun  ;  charge  of,  1.  Henry  IV.,  iv.  3,  "  Then  to  the  point,"  etc. ; 
of  John  of  Lancaster,  //.  Henry  IV.,  iv.  2 ;  of  Judas,  ///.  Henry 
VI.,  V.  7 ;  in  friends,  Henry  V.,  ii.  2 ;  of  the  conspirators,  Julius 
CcBsar,  V.  1 ;  killed  with  one's  own,  Hamlet,  v.  2 ;  of  Goneril  and 
Regan,  King  Lear,  v.  1;  proposed  to  Pompey,  Antony  and  Cleo- 
patra, ii.  7 ;  curses  on  supposed,  Cymbeline,  iv.  2,  "To  write  and 
read,"  etc. ;  monstrous,  I.  Henry  VI.,  iv.  2. 

Treason,  is  not  inherited.  As  You  Like  It,  i.  3  ;  accusations  of, 
Richard  II.,  i.  1 ;  v.  2  ;  never  trusted,  /.  Henry  IV.,  v.  2  ;  pardoned 
rebels  arrested  for,  //.  Henry  IV.,  iv.  2 ;  and  murder — aggravated, 
Henry  V.,  ii.  2  ;  accusations  of,  King  Lear,  Hi.  7 ;  arrest  for,  Kijig 
Lear,  v.  3  ;  felt  most  by  the  traitor,  Cymbeline,  Hi.  4  /  condemned 
to  die  for,  but  no  traitor,  /.  Henry  VI.,  ii.  4- 

Treasure,  hidden,  is  fretted  by  nist,  Venus  and  Adonis,  I.  767  ; 
of  Enobarbus,  Antony  and  Cleopatra,  iv.  6. 

Treaties,  King  John,  v.  2;  Henry  VIII.,  i.  1;  Antony  and 
Cleopatra,  ii.  6. 

Trebonius,  one  of  the  conspirators  in  Julius  Ccesar,  first  ap- 
pears in  ii.  1. 

Tree(s),  shall  be  books.  As  You  Like  It,  ii.  2  ;  a,  rotten.  As  You 
Like  It,  ii.  3 ;  o'ercome  with  moss,  and  baleful  misletoe,  Titus  An- 
dronicus,  ii.  3  ;  that  have  outlived  the  eagle,  Timon  of  Athens,  iv.  3. 

Trencher-friends,  Timon  of  Athens,  Hi.  6. 

Trencher-knight  (parasite),  Love's  Labour's  Lost,  v.  2. 

Trencher-man,  a  valiant.  Much  Ado  about  Nothing,  i.  1. 

Trent,  the  third  river  of  England,  to  straighten  the  channel  of, 
/.  Henry  IV.,  Hi.  1. 

Tressel,  an  attendant  of  Lady  Anne  in  Richard  III.  i.  2. 

Trial(s),  Merchant  of  Venice,  iv.  1 ;  Measure  for  Measure,  v.  1  ; 
Othello,  i.  3 ;  Comedy  of  Errors,  i.  1 ;  v.  1;  of  Hermione,  A  Win- 
ter's Tale,  Hi.  2 ;  challenge  to  knightly,  Richard  II.,  i.  1,  3 ;  by 
combat,  //.  Henry  VI.,  ii.  3  ;  King  Lear,  v.3  ;  of  persistence,  Troilus 
and  Cressida,  i.  3 ;  of  Queen  Katherine,  Henry  VIII.,  ii.  4;  trial- 
fire.  Merry  Wives  of  Windsor,  v.  5. 

Tribulation  of  Tower  Hill,  Henry  VIII.,  v.  4.  See  Lime- 
house  and  Puritans. 


INDEX  TO  SHAKSPERE'S  WORKS.  377 

Tribunate,  advised  abolition  of  the,  Coriolanus,  in.  1. 

Tribunes,  hardness  of  the,  Titus  Andronicus,  Hi.  1 ;  granted  to 
the  people,  Coriolanus,  i.  1 ;  abused,  Coriolanus,  ii.  1 ;  fear  of,  Co- 
riolanus, iv.  6  ;  V.  1. 

Tribute,  to  the  King  of  Naples  from  the  Duke  of  Milan,  The 
Tempest,  i.  2 ;  demanded  of  Britain  by  the  Romans,  Cymheline,  ii. 
4;  paid,  Cymheline,  Hi.  1;  v.  5. 

Trick(s),  fantastic,  Measure  for  Measure,  ii.  2 ;  Falstaff's,  1. 
Henry  1 F.,  ii.  4 ;  of  gentlemen,  AlVs  Well  that  Ends  Well,  v.  3. 

Tricksy  spirit,  Ariel,  The  Tempest,  v.  1. 

Trifle  (unsubstantial  thing).  The  Tempest,  v.  1. 

Trifles,  a  snapper-up  of  unconsidered,  A  Winter's  Tale,  iv.  2  or 
3;  light  as  air,  Othello,  Hi.  3. 

Trifling,  with  serious  things,  Cymheline,  iv.  2. 

Trigon,  the  fiery,  II.  Henry  IV.,  ii.  4.  A  term  in  astrology. 
When  the  three  superior  planets  met  in  one  of  the  three  signs  of  the 
zodiac,  Aries,  Leo,  or  Sagittarius,  they  formed  a  fiery  trigon,  or  tri- 
angle. 

Trinculo,  a  jester,  character  in  The  Tempest,  introduced  in  ii. 
2.  He  conspires  with  Caliban  and  Stephano  to  kill  Prospero  and 
make  Stephano  king. 

Trip  and  go,  a  morris-dance.  Love's  Labour's  Lost,  iv.  2.  "  A 
proverbial  expression  for  '  I  dare  not  tarry.' " 

Triple  (third),  AlVs  Well  that  Ends  Well,  i.  1;  Antony  and 
Cleopatra,  i.  1. 

Triton,  of  the  minnows,  a,  Coriolanus,  Hi.  L 

Triumph,  a  Roman,  Coriolanus,  ii.  1 ;  Caesar's,  Julius  Ccesar, 
i.  1 ;  honour  of  gracing  a,  Antony  and  Cleopatra,  v.  2 ;  an  ale-house 
guest.  Richard  II.,  v.  L 

Triumviry,  of  lovers,  a.  Love's  Lahour^s  Lost,  iv.  3. 

Troilus,  son  of  Priam,  King  of  Troy,  mtroduced  in  the  first 
scene  of  Troilus  and  Cressida ;  described,  i.  2 ;  iv.  5 ;  his  despair, 
i.  1 ;  discovers  Cressida's  falseness,  v,  2 ;  fights'  with  Diomedes,  v.  4. 
Coleridge  says  of  his  character : 

"  This  [Cressida's  vehement  passion  and  shameless  inconstancy] 
Shakspere  has  contrasted  with  the  profound  affection  represented  in 
Troilus  and  alone  worthy  the  name  of  love :  affection,  passionate 
indeed,  swollen  with  the  confluence  of  youthful  instincts  and  youth- 
ful fancy,  and  glowing  in  the  radiance  of  hope  newly  risen — in  short, 
enlarged  by  the  collective  sympathies  of  nature,  but  still  having  a 
depth  of  calmer  element  in  a  will  stronger  than  desire,  more  entire 
than  choice,  and  which  gives  permanence  to  its  own  act  by  convert- 


378  INDEX  TO  SEAKSPERE'S  WORKS. 

ing  it  into  faith  and  duty.  Hence,  with  excellent  judgment,  a i;'l 
with  an  excellence  higher  than  mere  judgment  can  give,  at  the  clris<> 
of  the  play,  when  Cressida  has  sunk  into  infamy  below  retrieA-al  and 
beneath  hope,  the  same  will,  which  had  been  the  substance  and  basis 
of  his  love,  while  the  restless  pleasures  and  passionate  longings,  like 
sea-waves,  had  tossed  but  on  its  surface — this  same  moral  energy  i.s 
represented  as  snatching  him  aloof  from  all  neighbourhood  with  hei 
dishonour,  from  all  lingering  fondness  and  languishing  regrets,  while 
it  rushes  with  him  into  other  and  nobler  duties,  and  deepens  the 
channel  which  his  heroic  brother's  death  had  left  empty  for  its  col- 
lected flood." 

Allusions  to  Troilus:  and  Cressid,  Merchant  of  Venice,  v.  1; 
As  You  Like  Jt,  iv.  1 ;  Cressida  to  this,  Twelfth  Night,  Hi.  1 ;  Much 
Ado  about  Nothing,  v.  1;  in  a  painting,  Lucrece,  I.  14S6. 

Troilus,  name  of  a  spaniel.  Taming  of  the  Shrew,  iv.  1. 

Troilus  and  Cressida  was  first  published  in  a  quarto  edition  in 
1609,  probably  an  unauthorized  edition.  In  the  folio  of  1623  it  is 
placed  between  the  histories  and  the  tragedies,  and  paged  with 
neither  of  them,  perhaps  because  the  editors  shared  the  perplexity 
of  later  critics,  and  were  in  doubt  as  to  where  it  should  be  classed. 
It  is  usually  placed  with  the  tragedies.  Critics  have  also  been  puz- 
zled to  assign  the  probable  date  or  period  at  which  the  play  was 
written  ;  the  most  plausible  opinion  is  that  it  was  first  written  at  an 
early  period  and  afterward  rewritten  when  the  poet's  powers  were  in 
their  full  maturity,  1606  or  1607.  The  sources  from  which  Shak- 
spere  probably  drew  were  Chaucer's  "  Troilus  and  Creseide ; "  the 
''  History  of  the  Destruction  of  Troye,"  translated  from  the  French 
of  Raoul  le  Fevre  by  Caxton ;  Chapman's  translation  of  Homer,  and 
perhaps  Lydgate's  " Troy  Book.'  The  time  is  that  of  the  Trojan 
war.  In  characterization,  in  single  passages  of  beauty  and  wisdom, 
and  in  the  working  up  of  the  details,  this  play  is  classed  among  the 
author's  best ;  but  it  is  lacking  in  unity  of  interest  and  in  apparent 
design ;  so  much  so  that  some  critics,  notably  Schlegel,  have  held  its 
design  to  be  a  sort  of  ridicule  of  hero-worship,  an  ironical  present- 
ment of  the  story  of  the  siege  of  Troy,  and  Charles  Lamb  says :  "  Is 
it  possible  that  Shakspere  should  never  have  read  Homer,  in  Chap- 
man's version,  at  least  ?  If  he  had  read  it,  could  he  mean  to  travesty 
it  in  the  parts  of  those  big  boobies,  Ajax  and  Achilles  ?  Ulysses, 
Nestor,  and  Agamemnon  are  true  to  their  parts  in  the  '  Iliad ; '  they 
are  gentlemen,  at  least.  Thersites,  though  unamusing,  is  fairly  de- 
ducible  from  it.  Troilus  and  Cressida  are  a  fine  graft  upon  it.  But 
those  two  big  bulks — " 

Trojan  horse,  allusion  to  the,  Pericles,  i,  4,  ■ 


I 


INDEX  TO  SEAKSPERE'S   WORKS.  379 

Trojan(s),  as  courtiers  and  soldiers,  Troilus  and  Cressida,  i.  3; 
Hector  was  but  a,  Love's  Labour's  Lost,  v.  2.  Play  on  the  use  of 
the  word  for  highwaymen  as  in  /.  Henry  7F.,  u.  1. 

TroU-my-dames,  A  Winter's  Tale,  iv.  2  ov  3.  A  game  also 
known  as  pigeon-holes. 

Tropically  (figuratively),  Hamlet,  Hi.  2. 

Tropics,  plants  and  animals  of  the,  in  Arden,  As  You  Like  It, 
iv.  3. 

Trouble.     See  Affliction,  Sorrow. 
Trowel,  laid  on  with  a,  As  You  Like  It,  i.  2. 
Troy,  in  Asia,  scene  of   Troilus  and  Cressida ;   six  gates  of, 
prologue  ;  high  towers  of,  iv.  5  ;  the  queen  compares  the  uncrowned 
king  to  the  devastated  site  of  Troy,  Richard  II.,  v.  1;  the  burning 
of,  allusion  to,  II.  H&nry  IV.,  i.  1;  Hamlet,  ii.  2;  Titus  Androni- 
cus.  Hi.  1;  v.  3;  III.  Henry  VI.,  Hi.  2;  paying  tribute  to  the  sea- 
monster.  Merchant  of  Venice,  Hi.  2;  the  siege  of,  in  a  painting, 
Lucrece,  I.  1367 ;  song  about,  All's  Well  that  Ends  Well,  i.  3. 
Troy,  the  hope  of  (Hector),  ///.  Henry  VL,  ii.  L 
Troy,  the  queen  of,  Titus  Andronicus,  i.  1  or  2.     Hecuba,  who 
put  out  the  eyes  of  Polymnestor,  King  of  Thrace,  and  killed  his  two 
children,  in  revenge  for  the  death  of  her  son,  who  was  murdered  by 
Polymnestor. 

Troyes  in  Champagne,  scene  of  Henry  V.,  v.  2,  "a  royal 
palace." 

True,  'tis,  'tis  pity,  Hamlet,  H.  2. 

Trumpery,  The  Tempest,  iv.  1 ;  A  Winter's  Tale,  iv.  3. 
Trumpet(s),  a  visitor  announced  by  the.  Merchant  of  Venice, 
V.  1;  sounding  to  battle,  Richard  IL,  Hi.  3;  III.  Henry  VL,  ii.  2; 
Troilus  and  Cressida,  i.  3 ;  iv.  5;  Macbeth,  v.  6;  Antony  and  Cleo- 
patra, iv.  8. 

Trundle-tail  (a  curly-tailed  dog),  King  Lear,  Hi.  6. 
Trunk,  a,  used  in  a  treacherous  stratagem,  Cymbeline,  i.  6. 
Trust,  begetting  falsehood,  The  Tempest,  i.  2;  give,  to  but  few, 
All's  Well  that  Ends  Well,  i.  1;  A  Winter's  Tale,  i.  2,  "I  have 
trusted  thee,"  etc. ;  a  simple  gentleman,  A  Winter's  Tale,  iv.  3  or 
4,  speech  of  Autolycus ;  abuse  of,  Richard  IL,  i.  1 ;  I.  Henry  IV., 
V.  5 ;  in  innocence,  II.  Henry  VL,  iv.  2 ;  no  use  for,  Antony  and 
Cleopatra,  v.  2. 

Truth,  ill-spoken,  The  Tempest,  ii.  1 ;  is  truth,  Measure  for 
Measure,  v.  1 ;  to  seek,  in  books,  Love's  Labour's  Lost,  i.  1 ;  stranger 
than  fiction,  Twelfth  Night,  iii.  4,  "  If  this  were  played,"  etc. ;  swear, 


380  INDEX  TO  SHAKSPERE'S   WORKS. 

out  of  England,  /.  Henry  IV.,  ii.  4;  tell,  and  shame  the  devil,  Z 
Henry  IV.,  Hi.  1 ;  thought  flattery,  I.  Henry  IV.,  iv.  1;  Antony 
and  Cleopatra,  i.  ^;  a  quiet  breast,  Richard  II.,  i.  3 ;  told  by  in- 
struments of  darkness,  Macbeth,  i.  3 ;  delight  in,  Macbeth,  iv.  3 ;  to 
one's  self,  Hamlet,  i.  3 ;  determination  to  find,  Hamlet,  ii.  2 ;  is  a 
dog  that  must  to  kennel.  King  Lear,  i.  4;  should  be  silent,  Antoiry 
and  Cleopatra,  ii.  2;  with  beauty,  Sonnet  liv. ;  needs  no  colour, 
Somiet  ci. ;  catches  nothing  but  mere  simplicity,  Troilus  and  Cres- 
aida,  iv.  4 ;  shown  in  the  face,  Pericles,  v.  1 ;  loves  open  dealing, 
Henry  VIIL,  Hi.  1. 

Tubal,  a  Jew  and  friend  of  Shylock  in  the  Merchant  of  Venice, 
appears  in  Hi.  1,  where  he  alternately  enrages  Shylock  with  reports 
of  his  daughter's  extravagance,  and  consoles  him  with  the  news  of 
Antonio's  misfortunes. 

Tuck  (sword,  rapier).  Twelfth  Night,  Hi.  4. 

Tuck,  Friar,  Two  Gentlemen  of  Verona,  iv.  1.  The  father  con- 
fessor of  Robin  Hood. 

Tuition,  of  God,  Much  Ado  about  Nothing,  i.  1. 

TuUius,  Servius,  Lucrecc  argument. 

Tully  (Marcus  Tullius  Cicero),  murder  of,  II.  Henry  VI.,  iv.  1 ; 
oratory  of,  Titus  Andronicus,  iv.  1. 

Tunis,  in  Africa,  king  of,  The  Tempest,  ii.  1. 

Turf,  Peter,  Taming  of  the  Shrew,  induction,  2. 

Turk(s),  to  turn.  Much  Ado  about  Nothing,  Hi.  4 ,'  Hamlet,  Hi. 
2  ;  nose  of,  Macbeth,  iv.  1 ;  &  malignant  and  turbaned,  Othello,  v.  2  ; 
base  Phrygian,  Merry  Wives  of  Windsor,  i.  3 ;  stubborn.  Merchant 
of  Venice,  iv.  1 ;  defiant,  As  You  Like  It,  iv.  3 ;  Richard  III.,  Hi. 
6 ;  tribute  of,  II.  Henry  I V.,  Hi.  2.  To  turn  Turk  was  to  become  a 
turn-coat. 

Turkey,  the,  allusions  to.  Twelfth  Night,  ii.  5 ;  I.  Henry  IV., 
ii.  1 ;  Henry  V.,  v.  L  The  turkey  was  not  known  in  England  till 
the  time  of  Henry  VIH.  (1509  to  1547). 

Turlygod,  poor.  King  Lear,  ii.  3. 

Turn,  a  friend  forever  gained  by  one  shrewd,  Henry  VIIL,  v.  2. 

Turnbull  Street,  or  Turnmill  Street  (a  disreputable  neighbour- 
hood in  London),  II.  Henry  IV.,  Hi.  2. 

Turn-coat,  courtesy  a.  Much  Ado  about  Nothing,  i.  1. 

Turquoise  ring-,  the,  Merchant  of  Venice,  Hi.  1.  This  stone 
was  supposed  to  possess  magical  properties :  to  fade  or  brighten  ac- 
cording to  the  wearer's  health,  and  to  keep  the  peace  between  hus- 
band and  wife,  were  among  them. 


INDEX  TO  SHAKSPERE'S  WORKS.  381 

Turtles  (turtle-doves),  A  Winter'' s  Tale,  iv.  3  or  4;  v.  3  ;  Love's 
Labours  Lost,  iv.  3 ;  L  Henry  VL,  ii.  2. 

Tutelaiy  spirits,  good  or  evil  angels,  //.  Henry  lY.,  i.  2 ;  Ju- 
lius CcBsar,  Hi.  2  ;  Macbeth,  Hi.  1 ;  Antony  and  Cleopatra,  ii.  3. 

Tutor,  to  the  Earl  of  Rutland  in  III.  Henry  VL,  i.  3.  He  was 
a  priest.  Sir  Robert  Aspall. 

Twelfth  Night,  or  What  You  Will,  a  comedy  known  to  have 
been  acted  in  1602.  The  story  bears  a  similarity  to  that  of  several 
earlier  plays  ^nd  novels — two  Italian  dramas,  '•  Gl'  Inganni "  ("  The 
Cheats"),  another  entitled  "Gl'  Ingannati"  ("The  Deceived"),  a 
Spanish  play,  the  "  Enganos  "  ("  The  Deceits  "),  "  The  Twins,"  by 
Bandello,  and  "  The  Historic  of  Apolonius  and  SLlla,"  by  Barnabe 
Rich,  the  last  of  which  it  closely  resembles  in  the  part  of  the  four 
lovers,  though  Shakspere  has  omitted  the  coarseness  of  Rich's  tale, 
added  all  distinctive  touches  to  the  principal  characters,  and  intro- 
duced the  humourous  personages  that  surround  them.  The  scene  is 
laid  in  lUyria,  according  to  Shakspere's  habit  of  using  the  unimpor- 
tant particulars  of  his  originals,  but  the  titles  and  characters  are 
English,  and  of  his  own  time.  Twelfth  Night  is  one  of  the  bright- 
est, wittiest,  and  at  the  same  time  sweetest,  of  the  comedies. 

"  The  perfection  of  English  comedy,  and  the  most  fascinating 
drama  in  the  language.  ...  It  was  appreciated  at  an  early  period 
as  one  of  the  author's  most  popular  creations.  There  is  not  only 
the  testimony  of  Manninghan  —  a  student  at  the  Middle  Temple, 
who  saw  it  performed,  and  wrote  of  it  in  his  diary — in  its  favour,  but 
Leonard  Digges,  in  the  verses  describing  this  most  attractive  of 
Shakspere's  acting  dramas,  expressly  alludes  to  the  estimation  in 
which  the  part  of  Malvolio  was  held  by  the  frequenters  of  the 
theatre." — Halliwell-Phillipps. 

Twiggen-bottle  (one  covered  with  basket-work),  Othello,  i.  3. 

Twilight,  morning.  III.  Henry  VL,  ii.  6. 

Twilled  (brims  of  banks),  sometimes  written  lilied,  The  Tempest, 
iv.  L 

Twink,  with  a,  The  Tempest,  iv.  1. 

Twins,  the  two  Dromios  and  the  two  Antipholuses  in  the  Com- 
edy of  Errors;  Viola  and  Sebastian  in  Twelfth  Night. 

Twire  (to  sparkle,  or  gleam  out  at  intervals).  Sonnet  xxviii. 

Two  Gentlemen  of  Verona,  The,  one  of  the  earliest  of  the 
plays,  is  supposed  to  have  been  written  about  1591,  or  perhaps  still 
earlier.  The  story  of  Proteus  and  Julia  resembles  that  of  Don  Felix 
and  Pelismena  in  "  Diana,"  by  George  de  Montemayor,  which  Shak- 
spere may  have  read  in  a  translation  by  Bartholomew  Yonge,  pub- 
25 


382  INDEX  TO  SHAKSPERE'S   WORKS. 

lished  in  1598,  but  made  some  years  earlier ;  or  from  a  play  on  the 
subject,  "  Felix  and  Philomena,"  1584.  The  scenes  are  laid  in  Ve- 
rona, Milan,  and  a  forest  on  the  outskirts  of  Mantua.  Charles 
Knight  thus  presents  the  varying  opinions  of  critics  on  this  play : 
"  Theobald  tells  us,  '  This  is  one  of  Shakspere's  worst  plays.'  Han- 
mer  thinks  Shakspere  '  only  enlivened  it  with  some  speeches  and 
lines  thrown  in  here  and  there.'  Upton  determines  that,  '  if  any 
proof  can  be  drawn  from  manner  and  style,  this  play  must  be  sent 
packing,  and  seek  a  parent  elsewhere.'  Johnson,  though  singularly 
favourable  in  his  opinion  of  this  play,  says  of  it,  '  There  is  a  strange 
mixture  of  knowledge  and  ignorance,  of  care  and  negligence.'  Mrs. 
Lenox,  who,  in  the  best  slip-slop  manner,  does  not  hesitate  to  pass 
judgment  upon  many  of  the  greatest  works  of  Shakspere,  says,  '  'Tis 
generally  allowed  that  the  plot,  conduct,  manners,  and  incidents  of 
this  play  are  extremely  deficient.'  On  the  other  hand,  Pope  gives 
the  style  of  this  comedy  the  high  praise  of  being  '  natural  and  un- 
affected.' Coleridge,  the  best  of  critics  on  Shakspere,  has  no  remark 
on  this  play  beyond  calling  it  '  a  sketch.'  Hazlitt,  in  a  more  elabo- 
rate criticism,  follows  out  the  same  idea.  Paul  Dupont  considers 
that  this  play  possesses  a  powerful  charm,  which  he  attributes  to  the 
brilliant  and  poetical  colouring  of  its  style.  He  thinks,  and  justly, 
that  a  number  of  graceful  comparisons,  and  of  vivid  and  picturesque 
images,  here  take  the  place  of  the  bold  and  natural  conceptions 
which  are  the  general  characteristics  of  Shakspere's  genius.  In 
these  elegant  generalizations,  M.  Dupont  properly  recognizes  the 
vagueness  and  indecision  of  the  youthful  poet.  The  remarks  of  A. 
W.  Schlegel  on  this  comedy  are  acute,  as  usual :  It  '  paints  the  irreso- 
lution of  love,  and  its  infidelity  toward  friendship,  m  a  pleasant  but 
in  some  degree  superficial  manner ;  we  might  almost  say,  with  the 
levity  of  mind  which  a  passion  suddenly  entertained  and  as  suddenly 
given  up  presupposes.' " 

"  The  piece  treats  of  the  essence  and  power  of  love,  and  especially 
of  its  influence  upon  judgment  and  habit  generally,  and  it  is  not 
well  to  impute  to  it  a  more  defined  idea.  The  twofold  nature  of 
love  is  here  at  the  outset  exhibited  with  that  equal  emphasis  and 
that  perfect  impartiality  which  struck  Goethe  so  powerfully  in  Shak- 
spere's writings." — Gervinus. 

Two  loves  I  have,  of  comfort  and  despair,  Sonnet  cxUv: 
Passionate  Pilgrim,  ii. 

Tybalt,  Juliet's  cousin,  introduced  in  i.  1  of  Romeo  aiid  Juliet. 
Mercutio  calls  him  "  prince  or  king  of  cats  "  in  ii.  4  and  Hi.  i,  Tybalt 


INDEX  TO  SHAKSPERE'S   WORKS.  383 

or  Tybert  being  the  name  of  the  cat  in  "  Reynard  the  Fox."  He  is 
fieiy  and  quarrelsome,  forces  a  quarrel  with  Romeo  and  his  friends, 
slays  Mercutio,  and  is  himself  slain  by  Romeo  {iii.  1). 

Tyburn,  love's,  Love's  Labour's  Lost,  iv.  3.  The  gallows  was 
sometimes  triangular. 

Type  (a  distinguishing  mark),  IlL  Henry  F/.,  i.  4- 
Typhon,  roaring,  Troilus  and  Cressida,  i.  3.  ■" 

Tyranny,  in  the  place  or  the  person,  Measure  for  lleasure,  i. 
3 ;  in  the  use  of  power,  Measure  for  Measure,  ii.  2 ;  accusation  of, 
A  Winter's  Tale,  ii.  3;  innocence  shall  make,  tremble— tortures  of, 
A  Winter's  Tale,  iii.  2;  murderous,  II.  Henry  VL,iii.  3. 

Tyrant,  name  of  an  apparition  of  a  hound.  The  Tempest,  iv.  1. 
Tyrant(s),  must  have  foreign  alliance.  III.  Henry  VI.,  iii.  3; 
friends  of,  Richard  III,  v.  2, 3  ;  defeated,  Julius  Ccesar,  i.3;  iii.  1 ; 
wills  of,  made  the  scope  of  justice,  Timon  of  Athens,  v.  5  ;  rule  of  a, 
Coriolanus,  ii.  1;  Macbeth,  iv.  3;  service  to  a,  Macbeth,  v.  4;  death 
to  a,  Macbeth,  v.  7;  fears  and  unscrupulousness  of,  Pericles,  i.  2. 
Tyre,  a  city  in  ancient  Phoenicia,  scene  of  a  part  of  Pericles. 
Tyrrel,  Sir  James,  character  in  Richard  III,  first  appears  in 
S ;  murders  the  princes,  iv.  3.    He  was  beheaded  in  1502  as  a  c 
spirator  with  the  Earl  of  Suffolk,  and  was  said  to  have  confessed  the 
murder  before  his  death.     Sir  Thomas  More  writes  that  he  was  a 
*'  brave,  handsome  man,  who  deserved  a  better  master,  and  would 
have  merited  the  esteem  of  all  men,  had  his  virtues  been  as  great  as 
his  valour." 

Ubiquity,  Twelfth  Night,  v.  1,  "  Nor  can  there  be  that  deity  in 
my  nature  of  here  and  everywhere." 

Ugliness,  Comedy  of  Errors,  iv.  2,  "  He  is  deformed,"  etc. ; 
Richard  on  his  own,  Richard  III,  i.  1,  2;  and  beauty,  Cymbeline, 
i.  6  ;  suggestion  of,  Vejius  and  Adonis,  I.  133. 

Ugly,  let  the,  be  unmarried.  Sonnet  xi. 

Ulysses,  general  of  the  Greeks,  character  in  Troilus  and  Ores- 
sida,  introduced  in  i.  3. 

"  The  speech  of  Ulysses  in  iii.  3,  when  taken  by  itself,  is  purely 
an  exquisite  specimen  of  didactic  morality;  but  when  combnied 
with  the  explanation  given  bv  Ulysses,  before  the  entrance  of  Achil- 
les, of  the  nature  of  his  design,  it  becomes  an  attribute  of  a  real 
man,  and  starts  into  life.  When  we  compare  the  plausible  and 
seeminglv  affectionate  manner  in  which  Ulysses  addresses  himself 
to  Achilles,  with  the  key  which  he  here  furnishes  to  his  meaning, 
and  especially  with  the  epithet  •  derision,'  we  have  a  perfect  eluci- 


tv. 
con- 


384  INDEX  TO  SHAKSPERE'S   WORKS. 

elation  of  his  character,  and  mnst  allow  that  it  is  impossible  to 
exhibit  the  crafty  and  smooth-tongued  politician  in  a  more  exact 
or  animated  style.  The  advice  given  by  Ulysses  is  in  its  nature 
sound  and  excellent,  and  in  its  form  inoffensive  and  kind  ;  the  name, 
therefore,  of  '  derision '  which  he  gives  to  it  marks  to  a  wonderful 
degree  the  cold,  self-centred  subtlety  of  his  character." — Godwin. 

Allusions  to  Ulysses,  III.  Henry  VI.,  Hi.  2  ;  iv.  2  ;  Lucrece,  1. 1394. 

tlmfrevill,  Sir  John,  mentioned  in  the  first  scene  of  II.  Henry 
IV.,  as  sending  news  of  the  battle  of  Shrewsbury  by  Travers  to 
Northumberland. 

Unacconiinodated.  (uncivilized,  not  having  the  conveniences  of 
iife).  King  Lear,  Hi.  4- 

Unaccustomed  (unseemly),  /.  Henry  VI.,  Hi.  1, 

Unanel'd  (without  extreme  unction).  Hamlet,  i.  5. 

TJnbarbed  (unshaven),  Coriolanus,  Hi.  2. 

Unbated  (without  a  button  on  the  point),  Hamlet,  iv.  7 ;  v.  2, 

Unbolted  (gross).  King  Lear,  ii.  2. 

Unbraided  (undamaged),  A  Winter's  Tale,  iv.  3  or  ^. 

Uncape  (to  throw  off  the  dogs,  so  as  to  begin  the  hunt).  Merry 
Wives  of  Windsor,  Hi.  3. 

Uncertainty,  of  the  world.  King  John,  v.  7 ;  King  Lear,  iv.  1. 

Uncharge  (acquit,  hold  guiltless),  Hamlet,  iv.  7. 

Unclew  (undo),  Timon  of  Athens,  i.  L 

Unconfirmed  (unsophisticated).  Much  Ado  about  Nothing,  Hi.  3. 

Unction,  extreme,  death  without,  Hamlet,  i.  5. 

Unction,  that  flattering,  Hamlet,  Hi.  ^ ;  a  poisonous,  Hamlet, 
iv.  7. 

Underlings,  the  fault  is  not  in  our  stars,  but  in  ourselves  if  we 
are,  Julius  Ccssar,  i.  2. 

Under-skinker  (under-tapster),  /.  Henry  IV.,  H.  4. 

Understanding,  likened  to  a  tide.  The  Tempest,  v.  1 ;  give  it 
an  understanding,  but  no  tongue,  Hamlet,  i.  2. 

Under  the  greenwood  tree,  song.  As  You  Like  It,  H.  5. 

Undertaker  (agent,  overseer),  Twelfth  Night,  Hi.  4. 

Uneath  (not  easily),  II.  Henry  VI.,  H.  4- 

Unexpressive  (indescribable),  she,  the.  As  You  Like  It,  Hi.  2. 

Ungained,  men  prize  the,  more  than  it  is,  Troilus  and  Cressida^ 
i.  2,  end. 

Unguem  (nail).  Love's  Labour's  Lost,  v.  1. 

Unhappy  (mischievous).  All's  Well  that  Ends  Well,  iv.  5, 
Unhatched  practice  (unripe  plot),  Othello,  Hi.  4- 
Unhoused  (unmarried),  Othello,  i.  2, 


INBEX  TO  SHAKSPERE'S   WORKS.  385 

Unhouselled  (not  absolved),  Hamlet,  i.  5. 

Unicorns,  The  Tempest,  Hi.  3 ;  Julius  Ccesar,  ii.  1 ;  Tim,on  of 
Athens,  iv.  3.  They  were  said  to  be  taken  by  the  hunter's  first  at- 
tracting their  attention,  and  then  running  behind  a  tree,  which  the 
animal  would  charge  against,  and  run  its  horn  into,  thus  being  held 
fast  and  powerless. 

Union,  an  (a  costly  pearl),  Hamlet,  v,  2. 

Universe,  the,  filled  with  murmur  and  darkness,  Henry  V.,  iv., 
chorus. 

Unkindness,  love  increased  by.  Measure  for  Measure,  Hi.  1, 
"  This  forenamed  maid,"  etc. ;  the  cnly  deformity.  Twelfth  Night, 
Hi.  4 ;  Julius  CcBsar,  Hi.  2,  "  The  unkindest  cut,"  etc. ;  sharp- 
toothed.  King  Lear,  ii.  4;  cannot  taint  my  love,  Othello,  iv.  2;  mor- 
tal to  women,  Antony  and  Cleopatra,  i.  2. 

Unmannerly,  Hamlet,  Hi.  2 ;  King  Lear,  i.  1 ;  better  be,  than 
troublesome,  Merry  Wives  of  Windsor,  i.  1,  end,  A  common  ex- 
pression. 

Unplausive  (unapplauding),  Troilus  and  Cressida,  Hi.  3. 

Unquestionable  spirit,  an,  As  You  Like  It,  Hi.  2.  A  dislike 
to  being  questioned. 

Unrespective  (unthinking,  inconsiderate),  Richard  IIL,  iv.  2. 

Unshunned  (unshunnable),  Measure  for  Measure,  Hi.  2. 

Unsisting  (unresisting).  Measure  for  Measure,  iv.  2. 

Untended  (unprobed,  neglected).  King  Lear,  i.  4. 

Untraded  oath,  a  (one  not  in  common  use),  Troilus  arid  Cres- 
sida, iv.  5. 

Up-spring,  the  swaggering,  a  dance,  Hamlet,  i.  4. 

Urchins,  The  Tempest,  i.  2 ;  Merry  Wives  of  Windsor,  iv.  4, 
Malignant  fairies  in  the  shape  of  hedgehogs. 

Ursula,  a  gentlewoman  attending  on  Hero  in  Much  Ado  about 
Nothing,  introduced  in  ii.  1. 

Urswick,  Christopher,  a  priest  in  Richard  IIL,  appears  only 
in  iv.  5.  He  was  chaplain  to  the  Countess  of  Richmond  and  to 
Henry  VII.,  and  did  much  to  forward  the  union  of  York  and  Lan- 
caster by  the  marriage  of  Henry  and  the  Princess  Elizabeth. 

Usance  (interest),  Merchant  of  Venice,  i.  3. 

Use,  breeds  habit,  Two  Gentlemen  of  Verona,  v.  4  ;  can  almost 
change  nature,  Hamlet,  iii.  4;  everything  for,  Romeo  and  Juliet, 
ii.  3,  "Nought  so  vile,"  etc.;  Venus  arid  Adonis,  I.  165 ;  gold  put 
to,  Venus  and  Adonis,  I.  767. 

Usurer(s),  complaint  of  being  called  a,  Merchant  of  Venice,  lii. 


386  INDEX  TO  SHAKSPERE'S  WORKS. 

1;  Coriolanus,  i.  1;  have  fools  for  servants,  Timon  of  Athens,  ii.  2; 
the,  hangs  the  cozener,  King  Lear,  iv.  6. 

Usuries,  the  worser  of  two,  Measure  for  Measure,  in.  2. 

Usurpation,  The  Tempest,  i.  2 ;  of  a  dukedom.  As  You  Like 
It,  i.  1 ;  in  the  woods,  As  You  Like  It,  ii.  1 ;  must  be  boisterously 
defended.  King  John,  Hi.  4  ;  of  Henry,  1.  Henry  IV.,  iv.  3,  "  Then 
to  the  point,"  etc. 

Usurper(s),  The  Tempest,  i.  2  ;  As  You  Like  It,i  .  1 ;  King  John, 
ii.  1 ;  favour  of  an,  Richard  II,  v.  1 ;  cares  of  an,  II  Henry  IV., 
iv.  4;  may  sway  a  whUe,  III.  Henry  VI.,  Hi.  3 ;  Macbeth,  Hi.  6; 
iv.  3  ;  Hamlet,  Hi.  ^» 

Usury.     See  Interest. 

Utis,  //.  Henry  IV.,  ii.  4.  Huitas,  from  the  French  huit,  eight ; 
the  space  of  eight  days  after  a  festival,  or  the  eighth  day,  sometimes 
applied  to  the  festival  itself ;  hence,  a  merry-making,  a  frolic. 

Utter  (to  sell),  Romeo  and  Juliet,  v.  1. 

Utterance  (uttermost),  Macbeth,  Hi.  1 ;  Cymbeline,  Hi.  1, 

Vacancy,  but  for,  the  air  would  have  gone  to  gaze  on  Cleopatra, 
A7ito7iy  and  Cleopatra,  ii.  2  ;  you  bend  your  eye  on,  Hamlet,  Hi.  4. 

Vail  (to  lower,  let  fall),  Measure  for  Measure,  v.  1;  Merchant 
of  Venice,  i.  1;  I.  Henry  VI.,  v.  3;  his  stomach  (pride,  courage), 
//.  Henry  IV.,  i  1. 

Vain-glory,  'tis  not,  for  a  man  and  his  glass  to  confer,  Troilus 
and  Cressida,  Hi.  3. 

Valdes,  a  pirate,  mentioned  in  Pericles,  iv.  1  or  2.  Name  of  an 
admiral  in  the  Spanish  Armada. 

Valentine,  St.,  day  of,  Midsummer-Night's  Dream,  iv.  1 ;  Ham- 
let, iv.  5. 

Valentine,  one  of  the  two  gentlemen  of  Verona.  He  is  hon- 
est, fair-minded,  faithful,  and  somewhat  obtuse. 

Valentine,  a  gentleman  attending  on  the  Duke  in  Twelfth 
Night,  introduced  in  the  first  scene,  plays  an  unimportant  part. 

Valentine,  a  kinsman  of  Titus  in  2\tus  Andronicus,  addressed 
m  V.  2.     He  does  not  speak. 

Valeria,  a  noble  Roman  lady,  friend  of  Virgilia,  wife  of  Corio- 
lanus, and  a  character  in  the  drama,  introduced  in  i.  3.  In  Plu- 
tarch she  is  said  to  be  the  mover  of  the  embassy  of  women,  v.  3-. 

Valerius,  one  of  the  outlaws  by  whom  Silvia  is  taken,  in  the 
Two  Gentlemen  of  Verona,  v.  3 

Valerius  Publius,  Lucrece,  argument. 


INDEX  TO  SHAKSPERE'S    WORKS.  387 

Valiant,  the,  taste  death  but  once,  Julius  Ccesar,  ii.  2 ;  the 
truly,  Timon  of  Athens,  Hi.  5. 

Validity  (value),  AlVs  Well  that  Ends  Well,  v.  3 ;  Twelfth 
Night,  i.  1 ;  King  Lear,  i.  1 ;  Romeo  and  Juliet,  Hi.  3. 

Valour,  praised,  Much  Ado  about  Nothing,  i.  1;  decay  of, 
Much  Ado  about  Nothing,  iv.  1,  "  Manhood  is  melted,"  etc. ;  can- 
not carry  discretion,  Midsummer-Nigh fs  Dream,  v.  1 ;  and  fear  to- 
gether, AlVs  Well  that  Ends  Well,  i.  1,  "  So  is  running."  etc. ;  es- 
teem of  women  for,  Twelfth  Night,  Hi.  2,  "  For  Andrew,"  etc. ;  the 
better  part  of — should  be  rewarded,  I.  Henry  IV.,  v.  4;  in  adver- 
saries, /.  Henry  IV.,  v.  5;  compared  to  Hector's,  Agamemnon's, 
etc.,  II.  Henry  IV.,  ii.  4 ;  no  true,  with  self-love,  ///.  Henry  VI., 
V.  2 ;  the  chief  virtue,  Coriolanus,  ii.  2 ;  true,  Timon  of  Athens, 
Hi.  5 ;  dependent  on  the  cause.  King  Lear,  v.  1 ;  when  it  preys  on 
reason,  Antony  and  Cleopatra,  Hi.  11  or  13 ;  that  plucks  dead  lions 
by  the  beard,  Kirig  John,  H.  1 ;  careless,  Troilus  and  Cressida,  v.  5  ; 
after  drinking,  The  Tempest,  iv.  1;  II.  Henry  IV.,  iv.  3;  like  a 
lion's,  HI.  Henry  VI.,  H.  1. 

Value,  is  not  wholly  in  the  estimate,  Troilus  and  Cressida,  ii.  2. 

Vanity,  Malvolio's,  Twelfth  Night,  ii.  3,  "  The  devil  a,"  etc. ; 
ii.  6 ;  preys  upon  itself,  Richard  II.,  ii.  1;  a,  sweep  of,  Timon  of 
Athens,  i.  2  ;  the  puppet,  King  Lear,  'i.  2 ;  of  the  world,  Cymbeline, 
Hi.  3 ;  Cloten's,  Cymbeline,  iv.  1. 

Vanquished,  taunts  to  the,  King  John,  v.  2. 

Vant-brace  (armour  for  the  forearm),  Troilus  and  Cressida,  i.  3. 

Vapians,  the.  Twelfth  Night,  ii.  3.    See  PigrogromituSc 

Variety,  of  people,  Merchant  of  Venice,  i.  1,  "  Now,  by  two- 
headed  Janus,"  etc. ;  infinite,  Antony  and  Cleopatra,  li.  2, 

Varnish,  the,  of  a  complete  man,  Love's  Labour'' s  Lost,  i.  2 ; 
on  fame,  Hamlet,  iv.  7. 

Varrius,  a  character  in  Measure  for  Measure,  introduced  in 
iv.  5,  where  he  does  not  speak. 

Varrius,  a  character  in  Antony  and  Cleopatra,  introduced  in  ii. 
1,  a  friend  of  Pompey. 

Varro,  a  servant  of  Brutus  in  Julius  Ccesar,  appears  in  iv.  3. 

Vast  (a  waste).  The  Tempest,  i.  2  ;  A  WHitefs  Tale,  i.  1, 

Vastidity  (vastness),  Measure  for  Measure,  Hi.  1. 

Vaudemont,  a  French  earl,  killed  at  Agincourt,  mentioned, 
Henry  V.,  Hi.  5 ;  iv.  8. 

Vaughan,  Sir  Thomas,  character  in  Richard  III.,  appears  in 
Hi.  3  ;  sent  to  execution,  Hi.  3,  4  ;  his  ghost,  v.  3, 


388  INDEX  TO  SHAKSPERE'S   WORKS. 

Vaunt  (beginning,  van)  Troilus  and  Cressida,  prologue. 

Vaunt-couriers  (heralds,  precursors),  Kirig  Lear,  Hi.  2. 

Vaux,  Sir  William,  character  in  //.  Henry  F/.,  first  appears  in 
iii.  2.  He  forfeited  all  his  property  for  adherence  to  Lancaster. 
His  son  is  a  character  in  Henry  VIII. 

Vaux,  Sir  Nicholas,  -character  in  Henry  VIII.,  introduced  in  ii. 
1,  a  son  of  the  Sir  William  Vaux  in  II.  Henry  VI.  His  father's 
forfeited  lands  were  restored  to  him  at  the  accession  of  Henry  VIL 

Vaward  (vanward),  Midsummer-NigM s  Dream,  iv.  1. 

Vein,  of  Ercles,  Midsummer-NigM s  Dream,  i.  2;  of  King  Cam- 
byses,  /.  Henry  IV.,  ii.  4;  the  giving,  Richard  III.,  iv.  2. 

Veins,  mustering  to  the  heart,  Lucrece,  I.  442.  See  Blood,  cir- 
culation of  the ;  checks  and  disasters  grow  in  the  veins  of  actions 
highest  reared,  Troilus  and  Cressida,  i.  3. 

Velutus,  Sicinius.     See  Sicinius  Velutus. 

Velvet,  gummed  (stiffened  with  gum),  I.  Henry  IV.,  ii.  2. 

Velvet-guards,  I.  Henry  IV.,  iii.  1.  Trimmings  of  velvet, 
much  affected  by  the  wives  of  wealthy  citizens ;  and  here  applied  to 
the  women  themselves. 

Vendetta,  the,  of  Capulets  and  Montagues,  Romeo  and  Juliet. 

Veneys  (venues,  passes  in  fencing).  Merry  Wives  of  Windsor,  i. 
1;  Love's  Labour's  Lost,  v.  1. 

Vengeance,  mercy  nobler  than.  The  Tempest,  v.  1 ;  threatened. 
Much  Ado  about  Nothing,  iv.  1 ;  of  Leontes,  A  Winter's  Tale,  ii.  3  ; 
omens  of,  King  John,  Hi.  4 ;  oath  of,  King  John,  iv.  3 ;  of  Heaven, 
Richard  II.,  i.  2;  sworn,  Titus  Andronicus,  ii.  3 ;  for  Caesar's 
wounds,  Jtdius  CcBsar,  v.  1 ;  just,  Hamlet,  i.  5 ;  Laertes's  vows  of, 
Hamlet,  iv.  4  or  2;  sure.  King  Lear,  iii.  7 ;  invoked,  Othello,  iii.  3, 
"  Arise,  black,"  etc. ;  v.  2  ;  Lucrece,  lines  1690,  182 L 

Venice,  Italy,  the  scene  of  a  part  of  the  Merchant  of  Venice  and 
of  Othello. 

Venice,  Duke  of,  a  character  in  the  Merchant  of  Venice,  intro- 
duced in  iv.  1. 

Venice,  Duke  of,  character  in  Othello,  introduced  in  i.  3. 

Venice,  senators  of,  characters  in  the  3Ierchant  of  Venice. 

Venice,  Cupid  in,  3Iuch  Ado  about  Nothing,  i.  1 ;  as  the  travel- 
ler speaks  of.  Love's  Labour's  Lost,  iv.  2  ;  law  of,  to  protect  its  citi- 
zens, J/ercj^aw^  of  Venice,  iv.  1;  death  at,  Richard  II.,  iv.l;  women 
of,  Othello,  iii.  3. 

Venison,  thanks  for,  Merry  Wives  of  Windsor;  i.  1 ;  see  Shal- 
low ;  to  kill,  As  You  Like  It,  ii.  1. 


INDEX  TO  SHAKSPERE'S  WORKS.  389 

Vent  (impetuosity,  as  of  hounds  when  they  scent  the  game),  Co- 
riolanus,  iv.  5, 

Ventages  (small  apertures),  Hamlet,  iii.  2. 

Ventidius,  one  of  the  false  friends  in  Timon  of  Athens,  intro- 
duced in  i.  2,  He  has  been  released  from  prison  by  Tnuon  {ii.  2,  end), 
but,  having  grown  rich,  he  refuses  a  loan  to  his  benefactor,  iii.  3. 

Ventidius,  character  in  Antony  and  Cleopatra,  introduced  in 
ii.  2. 

Ventricle  of  memory,  the,  Lovers  Labours  Lost,  iv.  2.  Allud- 
ing to  the  old  division  of  the  brain  into  three  ventricles,  in  the 
hindermost  of  which  was  memory. 

Ventures,  at  sea,  anxiety  for.  Merchant  of  Venice,  i.  1 ;  iii.  2. 

Venturing,  Venus  and  Adonis,  I.  567.  See  also  Daring,  Oppor- 
tunity. 

Venus,  doves  or  pigeons  of.  The  Tempest,  iv.  1;  Midsummer- 
Nighfs  Bream,  i.  1;  Merchant  of  Venice,  ii.  6;  love's  invisible 
soul,  Troilus  and  Cressida,  iii.  1 ;  smiles  not  in  a  house  of  tears, 
Romeo  and  Juliet,  iv.  h 

Venus  (the  planet),  Midsummer-Nighfs  Dream,  iii.  2;  IL 
Henry  1 V.,  ii.  ^  ;  /.  Henry  VL,  i.  2 ;  Titus  Andronicus,  ii.  3. 

Venus  and  Adonis,  a  poem  first  printed  in  1593,  and  therefore 
one  of  the  earliest  of  Shakspere's  works.  In  the  dedication  he  calls 
it  the  first  heir  of  his  invention  ;  whether  he  meant  by  that  that  it 
was  first  of  all  his  writings,  or  earlier  than  any  of  his  plays,  or  than 
any  that  were  wholly  original,  is  uncertain.  The  story  as  told  by 
Shakspere  differs  materially  from  Ovid's  version,  and  is  said  to  re- 
semble more  one  by  Henry  Constable,  published  in  1600  in  a  volume 
called  "  England's  Helicon,"  but  not  known  to  have  been  written 
before  this  one.  The  subject  of  the  poem  is  repellent,  but  it  con- 
tains descriptive  passages  of  great  beauty.     See  under  Lucrece. 

Venus  with  young  Adonis,  Passionate  Pilgrim,  xL 

Veracity,  faith  in,  Coriolanus,  iv.  5. 

Verb,  a  noun  and  a,  such  abominable  words  as  no  Christian  ear 
can  endure  to  hear,  IL  Henry  VL,  iv.  7. 

Verbosity,  and  argument.  Love's  Labour^s  Lost,  v.  1;  Troilus 
and  Cressida,  v.  3 ;  of  Gratiano,  Merchant  of  Venice,  i.  L  See 
Words, 

Vere,  Lord  Aubrey,  TIL  Henry  VL,  iii.  3. 

Verges,  a  character  in  Much  Ado  about  Nothing,  introduced  in 
iii.  3,  a  meek  imitator  and  disciple  of  Dogberry. 

Verily,  a  lady's,  is  as  potent  as  a  lord's,  A  Winter's  Tale,  i.  2. 


390  INDEX  TO  SHAKSPERE'S   WORKS. 

Vernon,  Sir  Richard,  character  in  /.  Henry  IV.,  appears  in  iv 
1,  and  V.  1  and  2.  He  was  a  partisan  of  the  Percys,  and  one  of  the 
leaders  at  Shrewsbury,  for  which  he  was  condemned  and  executed, 
July  23,  1403.     He  and  Worcester  are  ordered  to  death  in  v.  5. 

Vernon,  Sir  Richard  (?),  character  in  I.  Henry  VI.,  first  appears 
in  n.  4,  the  scene  where  the  red  and  white  roses  are  plucked  in  a 
quarrel  with  Bassett,  a  Lancastrian.  Vernon  is  an  ardent  adherent 
of  York.     The  quarrel  is  continued  in  iii.  4  and  iv.  1. 

Verona,  Italy,  scene  of  the  greater  part  of  Romeo  and  Juliet,  and 
parts  of  the  Two  Geiitlemen  of  Verona. 

Versatility,  of  the  king,  Henry  V.,  i.  L 

Verse,     See  Poetry. 

Verses,  on  trees — lame.  As  You  Like  It,  iii.  2. 

Vesture  of  decay,  this  muddy,  Merchant  of  Venice,  v.  1 ;  the 
essential,  of  creation,  Othello,  ii.  1. 

Via  (away),  Merry  Wives  of  Windsor,  ii.  2 ;  Love's  Labour's 
Lost,  V.  2 ;  Merchant  of  Venice,  ii.  2,  and  elsewhere. 

Vials,  the  sacred  (lachrymatory),  Antony  and  Cleopatra,  i.  3, 

Vice(s),  prevalence  of.  Measure  for  Measure,  ii.  1;  results  of 
pardoning.  Measure  for  Measure,  ii.  2  ;  apparelled  like  virtue.  Com- 
edy of  Errors,  iii.  2  ;  virtue  misapplied  turns  to,  Romeo  and  Juliet, 
ii.  3 ;  self -accusation  of,  Macbeth,  iv.  3 ;  repeated,  Pericles,  i.  1; 
assume  the  marks  of  virtues.  Merchant  of  Venice,  iii.  2 ;  fitly  be- 
stowed, Alps  Well  that  Ends  Well,  i.  1,  "  One  that  goes,"  etc. ;  want 
not  impudence,  A  Winter's  Tale,  Hi.  2  ;  an  old  man  boasting  of  his 
youthful,  II  Henry  IV.,  iii.  2 ;  of  a  young  man,  Hamlet,  ii.  1; 
through  tattered  clothes.  King  Lear,  iv.  6 ;  gods  make  instruments 
of,  King  Lear,  v.  3 ;  with  beauty,  Sonnet  xcv ;  result  of  persever- 
ance in,  Antony  and  Cleopatra,  iii.  11  or  13. 

Vice,  the  old,  Twelfth  Night,  iv.  2.  A  character  in  the  old 
"  Moralities,"  who  leaped  on  the  devil's  back  and  beat  him  with  a 
sword  of  lath,  but  was  carried  away  by  him  in  the  end.  The  moral 
IS  that,  though  sin  may  be  merry  with  the  devil,  it  must  become  his 
prey  in  the  end.  There  are  other  allusions,  as  to  that  reverend  vice, 
I.  Henry  IV.,  ii.  4,  to  vice's  dagger  in  II  Henry  IV.,  iii.  2,  the 
formal  vice  in  Richard  III,  iii.  1,  and  the  vice  of  kings  in  Hamlet, 
iii.  4,  a  "  king  of  shreds  and  patches."     The  vice  wore  motley. 

Vice  (fist,  grasp),  //.  Henry  1 V.,  ii.  1. 

Victory,  when  without  loss.  Much  Ado  about  Nothing,  i.  1 ;  ex- 
ultation and  rejoicing  in.  King  John,  v.  5 ;  II.  Henry  IV.,  i.  1;  HI, 
Henry  VI.  v.  3 ;  Richard  HI,  i.  1;  Antony  and  Cleopatra,  iv.  S. 


INDEX  TO  SBAKSPERE'S  WORKS.  391 

Video  et  gaudeo  (I  see  and  rejoice),  Love's  Labour''s  Lost,  v.  L 

Vidisne  qvds  venit  (Do  you  not  see  who  comes  ?),  Love's  La' 
hour's  Lost,  v.  1. 

Vidomar,  Viscount  of  Lymoges.    See  Austria,  Archduke  of. 

Vienna,  the  scene  of  Measure  for  Measure. 

Vile,  the,  see  vileness  in  goodness.  King  Lear,  iv.  2 ;  praise  of, 
Timon  of  Athens,  i.  L 

Viliago  (coward),  IL  Henry  VL,  iv.  8. 

"  Vilia  miretur,"  etc.,  a  quotation  from  Ovid  placed  at  the  be- 
ginning of  Venus  and  Adonis.  "  The  vulgar  admire  the  vile ;  to 
me  golden-haired  Apollo  presents  a  full  Castalian  draught." 

Villain(s),  when  rich,  have  need  of  poor,  3Iuch  Ado  about  Noth- 
ing, Hi.  3  ;  faces  of.  Much  Ado  about  Nothing,  v.  1 ;  King  John,  iv.  2 ; 
(serf  and  rascal).  As  You  Like  It,  i.  1 ;  determined  to  prove  a,  Rich- 
ard TIL,  i.  1 ;  smiling,  damned — smile  and  be  a,  Hamlet,  i.  5  ;  gloz- 
ing  their  villainy,  Othello,  ii.  3,  "  And  what's  he,"  etc. ;  a  plain-deal- 
ing. Much  Ado  about  Nothing,  i.  3 ;  a.  self-confessed.  King  Lear,  i. 
2 ;  a,  with  a  smiling  cheek.  Merchant  of  Venice,  i.  3. 

Villainy,  out-villained,  AlVs  Well  that  Ends  Well,  iv.  3 ;  easy 
to  practise  on  innocence.  King  Lear,  i.  2,  end ;  make  mocks  with 
love,  Othello^  v.  2 ;  clothed  with  old  odd  ends  stolen  from  Holy 
Writ,  Richard  III.  i.  3 ;  instruction  in,  bettered,  Merchant  of  Ven- 
ice, Hi.  1. 

Vincentio,  the  Duke  of  Vienna,  in  Measure  for  Measure,  enters 
in  the  first  scene.  He  is  a  man  of  purity,  justice,  moderation,  and 
mercifulness,  even  toward  errors  to  which  he  is  himseK  under  no 
temptation — a  contrast  to  Angelo — but  given  to  masquerading  and 
mystery,  justifying  the  appellation  Lucio  gives  him,  "  the  fantastical 
duke  of  dark  comers." 

Vincentio,  of  Pisa,  a  character  in  the  Taming  of  the  Shrew,  in- 
troduced in  iv.  5. 

Vine,  the  elm  and  the,  Comedy  of  Errors,  ii.  2 ;  every  man  shall 
eat  under  his  own  (in  the  days  of  Elizabeth),  Henry  VIII.,  v.  4. 

Vinegia  (Venetia),  etc..  Love's  Labour's  Lost,  iv.  2.  "  0  Venice, 
he  who  praises  thee  not  has  not  seen  thee."  From  Baptista  Spagno- 
lus,  of  Mantua. 

Vinewedst  (mouldiest),  Troilus  and  Cressida,  ii.  1. 

Vintner,  a,  a  character  in  1.  Henry  IV.,  appears  in  ii.  4. 

Viola,  heroine  of  Twelfth  Night,  introduced  in  the  second  scene. 
She  has  been  shipwrecked,  and  dresses  as  a  man  to  protect  herself  in 
the  strange  country  where  she  is,  enters  the  service  of  the  duke,  with 


392  INDEX  TO  SHAKSPERE'S    WOIiKS. 

whom  she  falls  hopelessly  in  love,  and  is  made  the  confidant  of  his 
affection  for  Olivia  and  his  messenger  to  her.  In  the  delicacy  and 
refinement  of  her  character,  and  her  high,  breeding  and  gentleness, 
she  somewhat  resembles  Perdita. 

"  Viola  is  like  a  heightened  portrait  of  Julia  of  the  '  Two  Gentle- 
men of  Verona,'  enriched  with  lovely  colour,  and  placed  among  more 
poetical  surroundings.  She  has  not  the  pretty  sauciness  of  Rosalind 
in  her  disguise,  but  owns  a  heart  as  tender,  sweet-natured,  and 
sound-natured  as  even  Rosalind's.  The  mirth  of  the  play  belongs  to 
Dther  actors  than  Viola ;  her  occasional  playfulness  falls  back  into 
her  deep  tenderness  and  is  lost  in  it." — Dowden. 

Viol-de-gamboys  (gamba),  Twelfth  Night,  i.  3.  A  violoncello 
with  six  strings,  held  between  the  legs. 

Violenta,  an  unimportant  character  in  AlVs  Well  that  Ends 
Well,  appears  in  Hi.  5. 

Violets,  Twelfth  Night,  i.  1;  A  Winter's  Tale,  iv.  3  or  4;  3Iid- 
summer-Nighfs  Bream,  ii.  2  ;  Measure  for  Measure,  ii.  2  ;  Richard 
II.,  V.  2 ;  Henry  Y.,  iv.  1;  to  throw  a  perfume  on,  is  wasteful,  Kiiir 
John,  iv.  2  ;  Hamlet,  v.  1 ;  Pericles,  iv.  1 ;  Sonnet  xcix.  The  violet 
was  an  emblem  of  the  early  dead. 

Virago(es),  Much  Ado  about  Nothing,  ii.  1;  Twelfth  Night, 
Hi.  Jf. ;  Taming  of  the  Shrew,  i.  1 ;  et  seq. 

Virgilia,  wife  of  Coriolanus,  a  character  in  the  drama,  intro- 
duced in  i.  3.  Her  gentle,  fond,  sensitive  disposition  is  strongly 
contrasted  with  the  character  of  Volumnia,  her  husband's  mother. 
Coriolanus  calls  her  "  My  gracious  silence." 

Virginalling  (playing  the  virginals),  A  Winter's  Tale,  i.  2. 

Virginity,  All's  Well  that  Ends  Well,  i.  1. 

Virginius,  did  he  do  well,  Titus  Andronicus,  v.  3. 

Virgins,  knights  of  Diana,  All's  Well  that  Ends  Well,  i.  3. 

Vir  sapit,  etc.  (the  man  is  wise  who  speaks  little),  Love's  Lor 
hour's  Lost,  iv.  2. 

Virtue,  of  necessity.  Two  Gentlemen  of  Verona,  iv.  1;  to  be 
shown  forth,  Measure  for  Measure,  i.  1 ;  some  fall  by,  Measure  for 
Measure,  ii.  1 ;  a,  bait  to  vice.  Measure  for  Measure,  ii.  2 ;  looks 
bleak,  etc..  All's  Well  that  Ends  Well,  i.  1 ;  in  the  lowly.  All's  Well 
that  Ends  Well,  ii.  3,  "  From  lowest  place,"  etc. ;  none  like  necessity, 
Richard  II.,  i.  3 ;  inheritance  of,  III.  Henry  VI.,  ii.  2 ;  only  felt 
by  reflection,  Troilus  and  Cressida,  Hi.  3 ;  perverted,  Romeo  and 
Juliet,  ii.  3 ;  from  lack  of  means  for  vice,  Timon  of  Athens,  iv.  3 ; 
of  Imogen,  Cymbeline,  i.  4 .'  escapes  not  calumny,  Hamlet,  i.  3 ; 
better  assumed  than  wholly  wanting,  Hamlet,  Hi.  4 ;  and  cunning 


INDEX  TO  SHAKSPERE'S    WORKS.  393 

(wisdom),  Pericles,  Hi.  2 ;  influence  of,  Pericles,  iv.  5,  6 /  in  a  face, 
Lucrece,  I.  53. 

Virtue(s),  are  sanctified  and  holy  traitors  to  their  possessors,  As 
You  Like  It,  ii.  S ;  a.  world  to  hide  them  in.  Twelfth  Night,  i.  3 ; 
with  beauty,  I.  Henry  VI.,  v.  5  ;  written  in  water,  Henry  VIII.,  iv. 
2 ;  obscured  by  one  defect,  Hamlet,  i.  4 ;  assume  a,  if  you  have  it 
not,  Hamlet,  Hi.  4;  lie  in  the  interpretation  of  the  time,  Coriolayius^ 
iv.  7. 

Virtuous,  Dost  thou  think  there  shall  be  no  more  cakes  and  ale, 
because  thou  art,  Twelfth  Night,  ii.  3. 

Vision,  the  baseless  fabric  of  a,  The  Tempest,  iv.  1. 

Visions:  Katherine's,  Henry  VIII.,  iv.2;  Posthumus's,  Cymbe- 
line,  v.  4..    See  Dreams. 

Visor,  William,  of  Woncot,  II.  Henry  IV.,  v.  1. 

Vizaments  (advisements,  or  considerations).  Merry  Wives  of 
Windsor,  i.  1. 

Vizor,  a  virtuous,  over  vice,  Richard  III,  ii.  2  ;  Macheth,  Hi.  2. 

Vocation,  no  sin  for  a  man  to  labour  in  his,  /.  Henry  IV.,  i.  2. 

Voices,  of  age,  Comedy  of  Errors,  v.  1,  '•  Not  know  my,"  etc. ; 
too  rude  and  bold,  Herchant  of  Venice,  ii.  2 ;  well  divulged  in  (this 
may  mean  well  reputed  by  men's  voices,  or  said  to  be  learned  in  lan- 
guages), Twelfth  Night,  i.  5 ;  soft,  gentle,  and  low,  King  Lear,  v.  3  ; 
beauty  of,  Venus  and  Adonis,  I.  428  ;  of  Marcius,  Coriolanus,  i.  6  ; 
a  sweet,  Pericles,  v.  1,  "  Who  starves  the  ears  she  feeds,  and  makes 
them  hungry,  the  more  she  gives  them  speech." 

Volquessen,  King  John,  ii.  1  or  2.  The  ancient  name  of  the 
province  now  called  the  Vexin,  which  lay  on  the  border-land  between 
France  and  Normandy.  It  had  been  ceded  by  King  Henry  I.  of 
France  to  Duke  Robert  of  Normandy ;  but  the  French  again  took 
possession  of  it  during  the  childhood  of  William  the  Conqueror,  who 
did  not  attempt  to  retake  it  until  1087.  In  tlie  course  of  the  strug- 
gle Mantes  was  burned,  and  there  William  received  injuries  by  a  fall 
from  his  horse,  of  which  he  died. 

Volsces,  preparations  of,  for  war,  Coriolanus,  Hi.  1 ;  incursion 
of.  Coriolanus,  iv.  5.  A  people  inhabiting  the  southern  part  of  La- 
tium,  finally  subdued  by  the  Romans  in  the  Samnite  wars,  343  and 
826  B.  c. 

Volscian  Senators,  characters  in  Coriolanus. 

Voltimand,  a  courtier  in  Hamlet,  introduced  in  i.  2. 

Volumnia,  mother  of  Coriolanus,  introduced  in  i.  3  ;  her  pride 
in  her  son's  valour,  i.  3 ;  she  disapproves  his  haste,  Hi.  2 ;  her  an- 


394  INDEX  TO  SHAKSPERE'S  WORKS. 

ger,  iv.  2 ;  her  suit  to  her  son,  v.  3 ;  worth  a  city-full,  v.  If,.  She  has 
her  son's  haughty  pride  of  class,  hateful  contempt  for  the  people, 
thirst  for  honour,  and,  one  might  say,  martial  courage.  By  her 
suit  to  her  son,  v.  3,  she  is  said  to  have  "  saved  Rome  and  lost  her 
son ; "  but  she  did  not  know  that  she  was  saving  Rome  at  such  a 
cost.  Her  speech  to  him,  beginning  "  Speak  to  me,  son,"  is  taken 
very  literally  from  the  translation  of  Plutarch. 

"  The  haughty  temper  of  Volumnia,  her  admiration  of  the  valoui 
and  high  bearing  of  her  son,  and  her  proud  but  unselfish  love  for 
him,  are  finely  contrasted  with  the  modest  sweetness,  the  conjugal 
tenderness,  aiid  the  fond  solicitude  of  his  wife  Virgilia.  .  .  .  But  the 
triumph  of  Volumnia's  character,  the  full  display  of  all  her  grandeur 
of  soul,  her  patriotism,  her  strong  affections,  and  her  sublime  elo- 
quence, are  reserved  for  her  last  scene,  in  which  she  pleads  for  the 
safety  of  Rome,  and  wins  from  her  angry  son  that  peace  which  all 
the  swords  of  Italy  and  her  confederate  arms  could  not  have  pur- 
chased."—Mrs.  Jameson. 

"  The  poet  gradually  wins  us  to  an  admiration  of  the  hero  by  the 
most  skilful  management.  First,  through  his  mother.  What  a 
glorious  picture  of  an  antique  matron,  from  whom  her  son  equally 
derived  his  pride  and  his  heroism,  is  presented  in  the  exquisite  scene 
\i.  3]  where  Volumnia  and  Virgilia  talk  of  him  they  love  according 
to  their  several  natures  !  Who  but  Shakspere  could  have  seized 
upon  the  spirit  of  a  Roman  woman  of  the  highest  courage  and  men- 
tal power,  bursting  out  in  words  such  as  these  "  [beginning,  "  His 
bloody  brow ! "]— Knight. 

Volumnius,  a  friend  of  Brutus  and  Cassius  in  Julius  Cmsar, 
first  appears  in  v.  3. 

Voluptuousness,  in  troubled  times,  Antony  and  Cleopatra,  i.  4. 

Votress,  the  imperial  [Elizabeth],  passed  on,  in  maiden  medi- 
tation, fancy-free,  Midsummer-Nighf s  Dream,  ii.  1. 

Vows,  lovers',  Two  Gentlemen  of  Verona,  ii.  2  ;  unheedful.  Two 
Gentlemen  of  Verona,  ii.  6;  of  men,  Measure  for  Measure,  i.  5 ; 
broken.  Love's  Labour's  Lost,  iv.  3 ;  v.  2 ;  Hermia's,  Midsummer- 
Night's  Dream,  i.  1;  true,  AlVs  Well  that  Ends  Well,  iv.  2;  Her- 
mione's,  A  Winter's  Tale,  Hi.  2  ;  obligation  of  wrongful,  King  John, 
Hi.  1;  L  Henry  IV.,  i.  3;  Hi.  2;  binding  nature  of,  Henry  V.,  iv. 
7  ;  sinful,  not  to  be  kept,  III.  Henry  VI.,  v.  1 ;  broken,  Troilus  and 
Cressida,  v.  2;  peevish,  Troilus  and  Cressida,  v.  3 ;  careless,  Ham- 
let, i.  3  ;  false,  Antony  and  Cleopatra,  i.  3  ;  men's,  Cymheline,  Hi.  4. 

Vox,   you  must  allow,    Twelfth   Night,  v.   1.     Allow  one   to 


Vulcan,  a  rare  carpenter,  Much  Ado  about  Nothing,  i.  1 ;  black 
as.  Twelfth  Night,  v.  1 ;  as  like  as,  and  his  wife,  Troilus  and  Cres- 


•     INDEX  TO  SHAKSPERE'S  WORKS,  395 

sida,  I.  3  ;  imagination  as  foul  as  his  stithy,  Hamlet,  in,  2 ;  badge 
of,  Titus  Andronicus,  ii.  1. 

Vulture,  the,  Merry  Wives  of  Windsor,  i.  3 ;  II.  Henry  VI.,  iv. 
3;  Titus  Andronicus,  v.  2 ;  King  Lear,  ii.  4. 

Waftage  (passage  by  water),  Comedy  of  Errors,  iv.  1 ;  Troilus 
and  Cressida,  Hi.  2. 

Wager(s),  as  to  the  most  obedient  wife,  Taming  of  the  Shreiv, 
V.  2 ;  as  to  Imogen,  Cymbeline,  i.  5  ;  nothing  can  seem  foul  to  those 
that  win,  /.  Henry  IV.,  v.  1. 

Waggery,  Cymheline,  Hi.  4,  "  A  waggish  courage." 

"Waggon,  spokes  of  Queen  Mab's,  Romeo  and  Juliet,  i.  4. 

Wagtail,  name  applied  to  an  officious  person,  King  Lear,  ii.  2, 

Waist,  and  wit,  Love's  Labours  Lost,  iv.  1 ;  1  would  my  means 
were  greater  and  my  waist  slenderer,  II.  Henry  IV.,  i.  2. 

Waist  (that  part  of  a  ship  between  the  forecastle  and  the  quar- 
ter-deck), Troilus  and  Cressida,  ii.  2. 

Wakefield,  a  market-town  in  the  West  Riding  of  Yorkshire, 
battle  of  (December  30,  1460),  III.  Henry  VI,  i.  3,  4 ;  ii.  1. 

Wakes,  Love's  Laloufs  Lost,  v.  2  ;  a  man  that  haunts,  A  Win- 
ter''s  Tale,  iv.  2  or  3.  Churches  held  wakes  in  honour  of  the  saints 
to  whom  they  were  dedicated,  on  their  anniversaries. 

Wales,  scene  of  parts  of  Cymbeline. 

Wales,  Anne,  Princess  of.    See  Anne. 

Wales,  Princes  of.  See  Edward,  the  Black  Prince,  Edward, 
Prince  of  Wales,  Edward  V.,  Henry  V. 

Walking  fire  (will-o'-the-wisp),  King  Lear,  Hi.  If.. 

Wall,  a  character  in  the  play  of  the  artisans  in  the  Midsummer- 
NigJifs  Bream,  taken  by  Snout,  the  tinker.  "  This  man,  with  lime 
and  rough  cast,  doth  present  Wall,  that  vile  wall,  which  did  those 
lovers  sunder  " — "  the  wittiest  partition  that  ever  I  heard  discourse." 

Wall,  the  weakest  goes  to  the,  Romeo  and  Juliet,  i.  i  ;  a  beaute- 
ous, doth  oft  close  in  pollution.  Twelfth  Night,  i.  2. 

Walloon,  a  base,  thrust  Talbot  with  a  spear,  /.  Henry  VI.,  i.  1. 
An  inhabitant  of  that  part  of  Flanders  between  the  Scheldt  and  the 
Lys. 

Wandering  knight,  the  sun  a,  /.  Henry  1 V.,  i.  2. 

Wandering  stars  (planets),  Hamlet,  v.  L 

Wannion,  with  a  (with  a  vengeance),  Pericles,  ii.  L 

Wantonness,  accusation  of,  Sonnets  cxxxvii.,  cxlii.-cxliv.,  clii, 

Wappened  (or  wappered,  over-worn),  Timon  of  Athens,  iv,  3. 


396  INDEX  TO  SHAKSPERE'S   W0RK8.      . 

War,  better  than  strife  at  home,  AlVs  Well  that  Ends  Well,  w. 
S,  near  the  end;  threatened,  King  John,  i.  1;  iL  1;  Henry  F.,  ii. 
4  ;  devastations  of,  King  John,  ii.  1,  2 ;  Hamlet,  iv.  4. ;  declarations 
of.  King  John,  Hi.  1 ;  v.  2 ;  Henry  V.,  i.  2 ;  Cymbeline,  Hi.  1 ;  civil, 
King  John,  iv.  3 ;  v.  2  ;  Richard  II.,  Hi.  3 ;  I.  Henry  IV.,  i.  1 ;  m. 
4 ;  III.  Henry  VI.,  ii.  5 ;  Richard  III,  ii.  4;  v.  5 ;  like  the  god 
of,  Ki?ig  John,  v.  1;  old  men,  boys,  and  women  armed  for,  Richard 
II.,  Hi.  2 ;  dreams  of,  I.  Henry  IV.,  ii.  3 ;  just,  h  Henry  IV.,  v.  2 ; 
chances  of,  //.  Henry  IV.,  i.  1;  caution  in,  II.  Henry  IV.,  i,  3  ; 
an  archbishop  in,  II.  Henry  IV.,  iv.  1.  2 ;  prophecy  of  civil,  //.  Hen- 
ry IV.,  iv.  2 ;  counsel  for,  Henry  V.,  i.  2 ;  preparations  for,  Henry 
v.,  ii.,  chorus;  ii.  4;  sleeping  sword  of,  Henry  V.,  i.  2 ;  spirit  suit- 
able to,  Henry  V.,  Hi.  1 ;  license  of,  Henry  V.,  Hi.  3 ;  the  beadle 
and  vengeance  of  God,  Henry  V.,  iv.  1 ;  fame  of,  Henry  V.,  iv.  3 ; 
a  country  after,  Henry  V.,  v.  2;  its  attendants,  /.  Henry  VI.,  iv.  2; 
a  son  of  hell,  //.  Henry  VI.,  v.  2 ;  or  devotion.  III.  Henry  VI.,  H. 
1,  "  Shall  we  go  throw  away,"  etc. ;  end  of — hath  smoothed  his 
wrinkled  front,  Richard  HI,  i.  1 ;  closet,  Troilus  and  Cressida,  i. 
3 ;  counsel  in,  despised,  Troilus  and  Cressida,  i.  3 ;  ruthlessness 
in,  Troilus  and  Cressida,  v.  3 ;  exceeds  peace,  Coriolanus,  iv.  5 ; 
prophecy  of — the  dogs  of,  Julius  CcBsar,  Hi.  1;  preparations  for, 
Jtdius  Ccesar,  iv.  2;  Hamlet,  i.  1,  2 ;  cruel,  Timon  of  Athens,  iv.  3; 
farewell  to,  Othello,  Hi.  3  ;  longing  for,  Cymbeline,  iv.  4' 

War,  the  Trojan,  Troilus  and  Cressida. 

War-cries,  havoc.  King  John,  ii.  1 ;  Coriolanus,  Hi.  1 ;  God 
and  Saint  George,  Richard  III,  v.  3. 

Ward,  I  am  now  in,  AlVs  Well  that  Ends  Well,  i.  1.  The  heirs 
of  great  fortunes  were  wards  of  the  king  in  England  and  in  Nor- 
mandy under  feudal  laws.  Here  the  law  is  attributed  to  the  rest  of 
France.     The  father  should  be  ward  to  the  son,  King  Lear,  i.  2. 

Ward  (place  of  defence),  A  Winter's  Tale,  i.  2 ;  Troilus  and 
Cressida,  i.  2  ;  Merry  Wives  of  Windsor,  ii.  2. 

Warden  pies,  A  Winter's  Tale,  iv.  2  or  3.  Made  of  wardens, 
large  pears. 

Warder,  the  king's,  Richard  II.,  i.  3;  II.  Henry  IV.,  iv.  L 
Throwing  down  the  warder  was  a  sign  for  the  combat  to  stop. 

Ware,  the  bed  of.  Twelfth  Night,  Hi.  2.  This  famous  bed,  which 
is  twelve  feet  square,  is  of  oak,  and  very  elaborately  carved.  It 
bears  the  date  1463  ;  but  as  it  seems  by  the  carving  to  be  of  a  later 
period,  the  date  may  have  been  marked  on  it  to  confirm  the  story 
that  it  once  belonged  to  Warwick,  the  king-maker.     It  was  in  an  inn 


INDEX  TO  SHAKSPERE'S  WORKS.  397 

at  Ware — the  Saracen's  Head — in  1864,  when  it  was  offered  for  sale 
at  auction,  at  one  hundred  guineas ;  but  as  no  one  raised  the  price, 
it  was  bought  in.  One  story  is,  that  it  was  made  and  presented  to 
the  royal  family,  in  1463,  by  one  Jonas  Fosbrooke,  and  that  Edward 
IV.,  being  much  pleased  with  the  curious  carving,  gave  him  a  pen- 
sion for  life.  There  is  also  a  tradition  that,  years  afterward,  the  bed 
was  used  on  occasions  when  the  town  was  very  full ;  but  those  who 
tried  to  sleep  in  it  were  kept  awake  by  pinches,  scratches,  and  other 
small  persecutions,  caused,  it  was  supposed,  by  the  spirit  of  Jonas 
Fosbrooke,  who  resented  the  use  of  his  favourite  work,  designed  for 
royalty,  by  common  people  in  a  public  inn. 

Warkworth,  a  market-town  of  Northumberland,  scene  of  parts 
of  /.  and  //.  Henry  IV. 

Warnings,  from  heaven,  Julius  Ccesar,  i.  3 ;  disregarded,  Lu- 
crece,  I.  491.    See  Omens. 

Warriors,  precarious  fame  of.  Sonnet  xxv.    See  Soldiers. 

Wars  of  the  Roses,  prophecy  of,  Richard  IL,  iv.  1 ;  origin  of 
the  use  of  the  roses  as  emblems  by  the  partisans  of  the  two  houses, 
1.  Henry  VI.,  ii.  4.  A  red  rose  was  the  badge  of  John  of  Gaunt,  a 
white  one  of  his  brother,  Edmund  of  Langley.  For  battles  of  the 
Wars  of  the  Roses,  see  Barnet,  Bosworth,  Mortimer's  Cross,  Saint 
Albans,  Tewksbury,  Towton,  and  Wakefield. 

Wart,  a  recruit  in  //.  Henry  J  V.,  appears  in  Hi.  2. 

Warwick,  Richard  Beauchamp  (1381-1439),  Earl  of  (mistakenly* 
called  Neville  in  Hi.  1).  character  in  II.  Henry  IV.,  introduced  in 
Hi.  1,  in  Henry  V.,  introduced  in  i.  2,  and  in  /.  Henry  VI.,  where 
he  is  present  in  the  first  scene,  but  does  not  speak.  He  fought 
against  Glendower  at  Shrewsbury,  and  in  the  wars  in  France,  and 
made  a  pilgrimage  to  Palestine.  He  was  regent  of  France  from 
1437  to  1439,  and  was  one  of  the  ambassadors  sent  to  treat  of  the 
marriage  of  Henry  V.,  who,  at  his  death,  appointed  him  guardian 
and  tutor  for  his  infant  son,  afterward  Henry  VI.  In  the  "  Rous 
Roll  "  he  is  shown  holding  the  infant  prince  in  his  arms.  The  great 
earl  was  noted  for  his  charity  as  well  as  for  his  ability  and  bravery, 
and  the  Emperor  Sigismund  spoke  of  him  as  the  "father  of 
courtesy."  His  daughter  Anne  married  Richard  Neville,  who  is 
the  Warwick  of  the  next  play.  In  ii.  4  of  I.  Henry  VI,  WarwicE 
fcakes  the  white  rose  with  Plantagenet,  and  prophesies  that  the  quar- 
<q\  then  begun  between  the  roses  shall  send  "  a  thousand  souls  to 
death  and  deadly  night." 

Warwick,  Richard  Neville,  Earl  of,  "  the  king-maker,"  charac- 
20 


398  INDEX  TO  SHAKSPERE'S  WORKS. 

ter  in  the  second  and  third  parts  of  Henry  VI.,  introduced  in  the 
first  scene  of  each.  He  received  the  title  and  estates  through  his 
wife,  heiress  of  the  Beauchamp  family,  and  afterward,  at  the  death 
of  his  father,  became  Earl  of  Salisbury.  He  was  on  the  side  of  York 
at  first,  and  was  in  the  battles  at  St.  Albans  and  Towton ;  but  he 
was  offended  at  the  marriage  of  Edward  to  Lady  Grey,  when  he  was 
negotiating  a  marriage  with  Bona  of  Savoy,  //.  Henry  VI.,  Hi.  3^ 
and  an  estrangement  followed.  Later  he  joined  the  forces  of  Queen 
Margaret,  and  was  defeated  and  slain  at  Barnet  (April  14,  1471), 
///.  Henry  VI.,  v.  2,  Allusions  to  him  as  the  king-maker,  second 
part,  end  of  scene  2 ;  act  ii.,  third  part,  ii.  4;  Hi.  8 ;  to  his  device 
of  the  bear  and  ragged  staff,  II.  Henry  VI.,  v.  1 ;  his  power,  "  a  bug 
that  feared  us  all,"  third  part,  v.  2.  One  of  his  daughters,  Isabella, 
married  the  Duke  of  Clarence ;  the  other,  Anne,  married  Edward, 
son  of  Henry  VI.,  and  afterward  Richard,  Duke  of  Gloucester,  and 
is  a  character  in  Richard  III. ;  Clarence's  dream  of  him,  Richard 
III,  i.  If. ;  Clarence's  desertion  of  him  for  Edward,  ii.  1.  Warwick 
was  said  to  have  killed  his  horses  at  Towton,  because  he  would  not 
fly  ;  at  Barnet,  to  have  fought  on  foot,  for  the  encouragement  of  his 
soldiers.  The  former  is  commemorated  by  the  figure  of  a  horse  on 
the  side  of  a  hill  in  Tysoe,  in  the  county  of  Warwick,  called  the  Red 
Horse,  from  the  colour  of  the  soil,  and  on  Palm-Sunday,  the  an- 
niversary of  Towton,  the  people  of  the  place  meet  together  and 
"  scour  the  horse,"  as  it  is  called — clear  away  the  vegetation  that 
has  accumulated  on  the  figure. 

Warwickshire,  scene  of  III  Henry  VI.,  iv.  2,  3. 

Washford  (Wexford,  in  Ireland),  /.  Henry  VI.,  iv.  7. 

"Was  it  the  proud,  full  sail  of  his  great  verse.  Sonnet 
Ixxxvi. 

Wassail-candle,  a,  II.  Henry  IV.,  i.  2.  A  large  candle  used 
at  a  merry-making. 

Was  this  fair  face  the  cause,  song,  AlVs  Well  that  Ends 
Well,  i.  3. 

Wastefulness,  to  gild  refined  gold,  to  paint  the  lily,  etc.,  King 
Joh7i,  iv.  2  ;  of  Falstaff.     See  Waist. 

Wat,  name  for  a  hare,  Venus  and  Adonis,  I.  697. 

Watch,  directions  to  the.  Much  Ado  about  Nothing,  Hi.  3. 

Watch,  winding  up  the,  of  wit.  The  Tempest,  ii..  1. 

Watch,  give  me  a,  Richard  III,  v.  3.  A  watch-light,  marked 
to  show  the  passage  of  time. 

Watchfulness,  power  of,  Troilus  and  Cressida,  Hi.  3, 


INDEX  TO  SHAKSPERE'S  WORKS.  399 

Water,  smooth,  II.  Henry  VJ.,  Hi.  1 ;  that  glideth  by  the  mill, 
Titus  Andronicus,  ii.  1;  as  false  as,  Othello,  v.  2 ;  the,  was  caught, 
and  not  the  fish,  A  Winter's  Tale,  v.  2. 

Water-easting,  allusions  to  the  practice  of,  Two  Oentlemen  oj 
Verona,  ii.  1;  Twelfth  Nighi,  Hi.  4;  II.  Henry  IV.,  i.  2  ;  Macbeth, 
V.  3 ;  Merry  Wives  of  Windsor,  ii.  3, 

Water-fly,  Hamlet,  v.  2  ;  Troilus  and  Cressida,  v.  1.  A  busy, 
officious  trifler. 

Waterford,  Ireland,  Talbot,  Earl  of,  /.  Henry  VI.,  iv.  7. 

Water-galls,  Lucrece,  I.  1588.    Secondary  rainbows. 

Waterton,  Sir  Robert,  mentioned  in  Richard  II,  ii.  1,  as  one 
of  the  companions  of  Bolingbroke. 

Waters,  a  boat  for  all,  Twelfth  Night,  iv.  2.    Ready  for  any  port. 

Water-work  (water-colours),  II.  Henry  IV.,  ii.  1. 

Watery  star  (the  moon),  A  Winter's  Tale,  i.  2. 

Wax,  love  like  an  image  of,  Two  Gentlemen  of  Verona,  ii.  4. 

Wax,  a  form  of,  King  John,  v.  4.  Allusion  to  the  superstition 
that  an  individual  could  be  destroyed  by  melting  before  the  fire  a 
waxen  image  of  him ;  alluded  to  also  in  Two  Oentlemen  of  Verona, 
ii.  4;  Richard  III..  Hi.  4;  sting  of,  II.  Henry  VI.,  iv.  2 ;  a.  wide 
sea  of,  Timon  of  Athens,  'i.  1.  The  last  is  probably  an  allusion  to 
the  waxen  tablets  anciently  used  for  writing,  as  one  might  say  now, 
a  wide  sea  of  foolscap ;  uses  of,  in  sealing,  Oymbeline,  Hi.  2. 

Waywardness,  of  age,  King  Lear,  i.  1. 

Weakness,  Troilus  and  Cressida,  i.  1 ;  great  results  from,  AlVs 
Well  that  Ends  Well,  ii.  1 ;  physical,  of  a  great  man,  Julius  Ccesar, 
i,2. 

Wealsmen  (legislators,  commonwealth  men),  Coriolanus,  H.  1. 

Wealth,  a  burden  for  death  to  unload.  Measure  for  Pleasure, 
Hi.  1 ;  power  of,  Merry  Wives  of  Windsor,  Hi.  4  /  confiscated, 
Merchant  of  Venice,  iv.  1 ;  misery  brought  by,  Timon  of  Athens, 
iv.  2 ;  and  peace,  imposthume  of,  Hamlet,  iv.  4  ov  1 ;  desire  for, 
Lucrece,  1. 141 ;  King  Lear,  i.  4  ;  faults  that  are  rich  are  fair,  Timon 
of  Athens,  i.  2.    See  Gold,  Money, 

Weapons,  holy  saws  of  sacred  writ  for,  II.  Henry  VI.,  i.  3. 

Weariness,  in  a  prince,  //.  Henry  IV.,  H.  2 ;  sleep  of,  Cymbe- 
line,  Hi.  6. 

Weary  with  toil,  I  haste  me  to  my  bed,  Sonnet  xxvii. 

Weasel,  spleen  of  the,  /.  Henry  IV.,  H,  3 ;  quarrelous  as  the, 
Oymbeline,  Hi.  4  >'  as  a,  sucks  eggs,  As  You  Like  It,  ii.  5  ;  very  like 
a,  Hamlet,  Hi.  2. 


400  INDEX  TO  SHAKSPERE'S  WORKS. 

"Weather,  unseasonable,  due  to  strife  among  the  fairies.  See 
Seasons, 

Weather-cock,  invisible  as  a,  Tivo  Gentlemen  of  Verona,  ii.  L 

Weaver(s),  psalm-singers,  /.  Henry  1 V.,  ii.  4  >'  three  souls  out 
of  one,  Twelfth  Night,  ii.  3.  Weavefs  were  noted  for  psalm-sing- 
ing ;  Goliath  with  a  weaver's  beam,  Merry  Wives  of  Windsor,  v.  1. 

Web-and-pin  (cataract  of  the  eye),  A  Winter's  Tale,  i.  2;  King 
Lear,  Hi.  Jf.. 

Wedding  journey,  a,  Taming  of  the  Shrew,  iv.  1. 

Weeds,  in  spring,  II.  Henry  VI.,  Hi.  1;  &  crown  of.  King 
Lear,  iv.  4,  6  ;  the  fattest  soil  is  most  subject  to,  //.  Henry  IV.,  iv. 
4;  grow  apace,  Richard  III.,  ii.  4,'  H^-  L 

Weeds  (garments),  Twelfth  Night,  v.  1 ;  Coriolanus,  ii.  3  ;  King 
Lear,  iv.  1,  and  elsewhere. 

Weeping.     See  Tears. 

Weet  (wit,  know),  Antony  and  Cleopatra,  i.  1. 

Weird  Sisters,  the.    See  Witches,  the. 

Welcome,  a  landlady's.  Two  Gentlemen  of  Verona,  ii.  5;  at  a 
feast,  Comedy  of  Errors,  Hi.  1;  must  appear  in  other  ways  than 
words,  3Ierchant  of  Venice,  v.  1 ;  sl  general,  Henry  VIII.  i.  4  /  and 
farewell,  Troilus  and  Cressida,  Hi.  3 ;  to  a  returning  soldier,  Corio- 
lanus, ii.  1 ;  treacherous,  Macbeth,  i.  5  ;  of  a  hostess,  31acJbeth,  i.  6  ; 
expression  of,  Macbeth,  Hi.  4>  Pericles,  ii»  3 ;  Romeo  and  Juliet, 
ii.  6. 

Well-liking  (fat),  Love's  Labour's  Lost,  v.  2. 

Welsh,  the,  accent  of.  Merry  Wives  of  Windsor,  Sir  Hugh 
Evans  in  i.  1,  2,  etc.,  and  Fluellen's  in  Henry  V. ;  the  devil  under- 
stands, I.  Henry  IV.,  Hi.  1;  love  for  cheese  of.  Merry  Wives  of 
Windsor,  v.  5 ;  cruelties  of,  I.  Henry  IV.,  i.  1 ;  language  of  the,  /. 
Henry  IV.,  Hi.  1,  last  part ;  service  of,  in  France,  Henry  V.,  iv.  7o 

Were't  aught  to  me  I  bore  the  canopy,  Sonnet  cxxv. 

Westminster,  scene  of  a  part  of  Henry  VIII. 

Westminster,  palace  at,  scene  of  a  part  of  //.  Henry  IV. 

Westminster  Abbey,  scene  of  the  opening  of  I.  Henry  VI, 

Westminster,  the  Abbot  of,  a  character  in  Richard  II,  intro- 
duced in  iv.  1.  He  was  the  leader  of  the  conspiracy  to  kill  Boling- 
broke  ;  in  v.  6  he  is  said  to  have  died  "  with  clog  of  conscience  and 
sour  melancholy."  The  name  of  this  abbot  is  not  certainly  known, 
but  William  de  Colchester  is  generally  supposed  to  be  the  one ; 
though,  from  the  fact  that  the  date  of  his  death  is  uncertain,  it  may 
have  been  his  successor,  Richard  Harounden. 


INDEX   TO  SHAKSPERE'S   WORKS,  401 

"Westminster  Hall,  scene  of  iv.  1  in  Richard  11.  It  was  re- 
built by  Richard,  who  was  deposed  by  the  first  Parliament  that  met 
there. 

Westmoreland,  Ralph  Neville,  Earl  of,  character  in  Henry  IV., 
both  parts,  and  in  Renry  F.  He  was  the  first  earl,  made  so  by 
Richard  XL,  in  1397.  He  was,  however,  on  the  side  of  Bolingbroke, 
who  rewarded  him  for  his  services  with  several  important  appoint- 
ments. In  11.  Henry  IV.  iv.  1,  he  meets  the  archbishop  and  Mow- 
bray to  persuade  them  to  abandon  their  rebellion.  Of  his  twenty- 
two  children,  his  oldest  son  died,  leaving  a  son  Ralph,  who  is  the 
Westmoreland  of  III.  Henry  VI. 

Westmoreland,  Ralph  Neville,  second  earl  of,  character  in 
III.  Henry  VI.,  grandson  of  the  preceding.  He  is  an  adherent 
of  the  house  of  Lancaster,  and  is  introduced  in  the  first  scene. 

Westward,  hoe  !  Twelfth  Night,  Hi.  1.  The  cry  of  boatmen  on 
the  Thames. 

Wezand  (windpipe).  The  Tempest,  Hi.  2. 

Whale,  this  —  Falstaff,  Merry  Wives  of  Windsor,  ii.  1;  the 
belching,  Troilus  and  Oressida,  v.  5 ;  like  a,  Hamlet,  Hi.  2 ;  to  vir- 
ginity, AlVs  Well  that  Ends  Well,  iv.  3.  The  monster  that  was  to 
devour  Andromeda  was  represented  as  a  whale  in  some  old  prints. 

Whale's  bone  (walrus-teeth).  Love's  Labour's  Lost,  v.  2. 

What  is  your  substance,  whereof  are  you  made,  Sonnet 
till. 

What  potions  have  I  drunk  of  siren  tears,  Sonnet  cxix. 

What's  in  the  brain  that  ink  may  character.  Sonnet  cviii. 

Wheat,  two  grains  of,  in  two  bushels  of  chaff,  Merchant  of 
Venice,  i.  1;  he  that  will  have  a  cake  of  the,  must  tarry  the  grind- 
ing, Troilus  and  Oressida,  i.  1. 

Wheel,  turn  in  the  (like  a  turnspit).  Comedy  of  Errors,  Hi.  2; 
(the  burden  of  a  song  ?),  Hamlet,  iv.  5  or  2 ;  when  a  great,  runs 
down  a  hill,  let  go  thy  hold.  King  Lear,  ii.  4  ;  death  by  the,  Corio- 
lanus.  Hi.  2,  a  punishment  not  used  in  Rome ;  of  fire,  bound  upon 
a.  King  Lear,  iv.  7. 

Whelked  (twisted,  convoluted).  King  Lear,  iv.  6. 

Whelks  (pustules),  Henry  V.,  Hi.  6. 

When  as  I  sat  in  Babylon,  song,  Merry  Wives  of  Windsor, 
Hi.  1.  A  metrical  version  of  Psalm  cxxxvii.,  mixed  with  a  song  by 
Marlowe, 

When  as  thine  eye  hath  chose  the  dame.  Passionate  Pil- 
grim, xix. 


402  INDEX  TO  SHAKSFERE'S  WORKS, 

When  daffodils  begin  to  peer,  song,  A  Winter's  Tale,  iv.  S 
or  3. 

When  daisies  pied  and  violets  blue,  song,  Love's  Labour's 
Lost,  V.  2. 

When  forty  winters  shall  besiege  thy  brow,  Sonnet  ii. 

When  griping  grief,  song  by  Richard  Edwards,  Romeo  and 
Juliet,  iv.  5, 

When  I  consider  every  thing  that  grows,  Sonnet  xv. 

When  I  do  count  the  clock  that  tells  the  time.  Sonnet  xii. 

When  I  have  seen  by  Time's  fell  hand  defaced,  Sonnet 
Ixiv. 

When,  in  disgrace  with  fortune  and  men's  eyes.  Sonnet 

When  in  the  chronicle  of  wasted  time.  Sonnet  cvi. 
When  most  I  wink,  then  do  mine  eyes  best  see.  Sonnet 
xliii. 

When  my  love  swears  that  she  is  made  of  truth,  Sonnet 

cxxxviii  ;  Passionate  Pilgrim,  i. 

When  thou  shalt  be  disposed  to  set  me  light,  Sonnet 
Ixxxviii. 

When  to  the  sessions  of  sweet  silent  thought,  Sonnet  xxx. 

Wher  (whether),  //.  Henry  VI.,  Hi.  3  ;  Comedy  of  Errors,  iv.  L 

Where  art  thou.  Muse,  that  thou  forget'st  so  long.  Son- 
net c. 

Where  is  the  life  that  late  I  led  ?  Taming  of  the  Shrew, 
iv.  1.    A  line  from  an  old  ballad  now  lost. 

Where,  to  find  a  better,  thou  losest  here,  King  Lear,  i.  1, 

Where  the  bee  sucks,  song.  The  Tempest,  v.  L 

Whetstone,  well  said,  Troilus  and  Cressida,  v.  2;  of  a  sword, 
Macbeth,  iv.  3. 

Whiflaer,  a,  Henry  Y.,  v.,  chorus.  An  ofiBcer  who  preceded  a 
procession  to  clear  the  way,  sometimes  a  piper. 

Whiles  (until),  Twelfth  Night,  iv.  3. 

Whiles  you  here  do  snoring  lie,  song,  The  Tempest,  ii.  1. 

Whilst  I  alone  did  call  upon  thy  aid,  Sojinet  Ixxix. 

Whipping,  punishment  by,  Taming  of  the  Shrew,  i.  1 ;  II. 
Henry  IV.,  v.  4 ;  II.  Henry  VI.,  ii.  1 ;  Antony  and  Cleopatra,  Hi. 
11 ;  Hamlet,  ii.  2 ;  AlVs  Well  that  Ends  Well,  ii.  2 ;  King  Lear, 
i.  4;  the  impression  of  keen  whips.  Measure  for  Measure,  ii.  4* 

Whirligig,  of  time,  the,  Twelfth  Night,  v.  1. 

Whitehall,  named,  Heiiry  VIII.,  iv.  1. 


INDEX  TO  SHAKSPERE'S  WORKS.  403 

Whiteness,  of  new  snow  upon  the  raven's  back,  Romeo  and 
Juliet,  Hi.  2 ;  of  doves-down,  A  Winter's  Tale,  iv.  3. 

Whitmore,  Walter,  character  in  11.  Henry  VI.,  introduced  in 
IV.  1,  one  of  the  pirates  that  captured  the  Duke  of  Suffolk,  and  the 
one  to  whose  share  he  fell.  The  name  Walter  was  pronounced  with 
the  I  silent ;  the  duke  says  i 

"  A  cunning  man  did  calculate  my  birth, 
And  told  me  that  by  water  I  should  die." 

Whitsters  (bleachers),  Merry  Wives  of  Windsor,  Hi.  3. 

Whitsuntide,  or  Pentecost,  Two  Gentlemen  of  Verona,  iv.  4 ; 
Romeo  and  Juliet,  i.  5 ;  Comedy  of  Errors,  iv.  1;  pastorals  at,  ^ 
Winter's  Tale,  iv.  3  ov  4,'  morris-dance  at,  Henry  V.,  ii.  4- 

Whittle  (pocket-knife),  Timon  of  Athens,  v.  1. 

Whoever  hath  her  wish,  thou  hast  thy  will,  Sonnet  cxxxv. 

Who  is  it  that  says  most  ?  Soniiet  Ixxxiv. 

Who  is  Silvia  ?  song,  Two  Gentlemen  of  Verona,  iv.  2. 

Whoobub  (hubbub),  A  Winter's  Tale,  iv.  3  or  4. 

Whoop,  do  me  no  harm,  A  Winter's  Tale,  iv.  3  or  4.  Refrain 
of  an  old  ballad. 

Who  will  believe  my  verse  in  time  to  come,  Sonnet  xvii. 

Why,  every,  hath  a  wherefore,  Comedy  of  Errors,  ii.  2. 

Why  didst  thou  promise  such  a  beauteous  day,  Sonnet 
xxxiv. 

Why  is  my  verse  so  barren  of  new  pride.  Sonnet  Ixxvi. 

Why  should  this  a  desert  be  ?  love-verses.  As  You  Like  It, 
zii.  2. 

Wicked,  the  love  of  the,  Richard  II.,  v.  1 ;  their  own  enemies. 
All's  Well  that  Ends  Well,  iv.  3 :  swords  of  the,  turned  against 
themselves,  Richard  III.,  v.  1. 

Wickedness,  confession  of,  Titus  Andronicus,  v.  l ;  Heaven 
sees  all,  Henry  V.,  iv.  1 ;  II.  Henry  VI.,  v.  2 ;  Hamlet,  Hi.  3  ;  Peri- 
cles, i.  1;  relative,  King  Lear,  ii.  4,  "Those  wicked  creatures," 
etc. ;  unpunished.  King  Lear,  Hi.  7 ;  leavens  the  good,  Cymieline, 
Hi.  4  ;  downward  course  of,  Henry  V.,  Hi.  3. 

Widow(s),  dower  of  a,  Measure  for  Measure,  v.  1 ;  Heaven,  the 
champion  of,  Richard  IL,  i.  2  ;  speedy  marriage  of  a,  Hamlet,  i.  2 ; 
fear  to  leave  a.  Sonnet  ix. 

Widow,  a,  a  character  in  the  Taming  of  the  Shrew,  introduced 
in  V.  2,  who  marries  Hortensio. 

Widow,  a,  of  Florence,  character  in  All's  Well  that  Ends  Well, 
the  mother  of  Diana.    See  Capilet. 


404  INDEX  TO  SHAKSPERE'S  WORKS. 

"Wife  (wives),  a  Jewel,  Two  Gentlemen  of  Verona,  ii.  4 ;  may  be 
merry  and  honest,  Merrxj  ^Yives  of  Wi7idsor,  iv.  2  ;  are  sold  by  fate, 
Merry  Wives  of  Windsor,  v.  5 ;  duties  of,  Comedy  of  Errors,  ii.  1; 
Taming  of  the  Shrew,  v.  2 ;  reproaches  of  a  jealous.  Comedy  of 
Errors,  ii.  1,  2 ;  v.  1 ;  like  vines.  Comedy  of  Errors,  ii.  1 ;  submis- 
sion of  a,  Merchant  of  Venice,  Hi.  2 ;  a,  light,  Merchant  of  Venice, 
V.  1 ;  always  go  wrong,  Love's  Labour'' s  Lost,  Hi.  1 ;  those  who  rule 
their  lords,  Love's  Labour's  Lost,  iv.  1;  property  in  a,  Taming  of 
the  Shrew,  Hi.  2,  "  She  is  my  goods,"  etc. :  kill  a,  with  kindness, 
Taming  of  the  Shrew,  iv.  1;  a  detested,  is  worse  than  war.  All's 
Well  that  Ends  Well,  ii.  3  ;  jealousy  of.  As  You  Lilce  It,  iv.  1 ;  re- 
volted, A  Winter's  Tale,  i.  2 ;  what  motive  stronger  than  the  name 
of.  King  John,  Hi.  1 ;  fears  of  a,  /.  Henry  IV.,  ii.  3  ;  like  a  beaten, 
//.  Henry  IV.,  iv.  1 ;  Gloucester's,  /.  Henry  VI.,  i.  i  ;  a  good,  Heii- 
ry  VIIL,  ii.  4 ;  Hi.  1 ;  taking  a — avenging  the  theft  of  a,  Troilus 
and  Cressida,  ii.  2  ;  a,  quiet,  Coriolanus,  ii.  1,  "  My  gracious  silence ; " 
if  you  had  been  the  wife  of  Hercules,  Coriolanus,  iv.  1 ;  secrets  from 
a — prayer  to  be  worthy  of  a  noble,  Julius  Cce.sar,  ii.  1;  love  of, 
Othello,  i.  3  ;  unfaithfulness  of,  Othello,  iv.  3,  end  ;  advantage  in  the 
death  of  a,  Antony  and  Cleopatra,  i.  2 ;  one  not  to  be  controlled, 
Antony  and  Cleopatra,  ii.  2 ;  praise  of  a,  Lucrece,  I.  15.  See  also 
Women. 

Wilderness  (wildness),  Measure  for  Measure,  Hi.  1. 

Wild  fowl,  there  is  not  a  more  fearful,  than  your  lion  living, 
Midsummer- Night' s  Bream,  Hi.  1 ;  the  opinion  of  Pythagoras  con- 
cerning, Twelfth  Night,  iv.  2. 

Wild-goose  chase,  a,  Romeo  and  Juliet,  ii.  4.  A  kind  of  horse- 
race in  which  the  second  was  obliged  to  follow  the  leader  wherever 
he  chose  to  go ;  or  any  chase  as  hopeless  as  the  pursuit  of  a  wild 
goose. 

Wilfulness,  schoolmasters  to,  King  Lear,  ii.  4,  end;  hydra- 
headed,  Henry  V.,  i.  1. 

Will,  arbitrary,  Two  Gentlemen  of  Verona,  i.  3 ;  a.  strong,  in  a 
feeble  body,  like,  II.  Henry  VI,  v.  3 ;  power  of  the,  Othello,  i.  3, 
speech  of  lago ;  happiness  of  following  one's  own,  Cymbeline,  i.  6. 

Will,  play  on  the  name,  Sonnets  cxzxv.,  cxxxvi.,  cxliii.,  cxliv. 

Will(s)  (testaments),  not  such  a  sickly  creature  as  to  make  a. 
Merry  Wives  of  Windsor,  Hi.  4. ;  of  Portia's  father.  Merchant  of 
Venice,  i.  2;  of  worldlings,  As  You  Like  It,  ii.  1 ;  a,  wicked,  a 
woman's,  King  John.  ii.  1 ;  bid  a  sick  man  make,  Romeo  and  Juliet, 
i.  1 ;  Caesar's,  Julius  Ccesar,  Hi.  2 ;  he  is  said  to  have  left  about 


INDEX  TO  SHAKSPERE'S   WORKS.  405 

fourteen  dollars  to  each  citizen,  a  sum  equal  in  value  to  at  least  one 
hundred  dollars  now:  a  last,  Lucrece,  I.  1183 ;  Pericles,  i.  1. 

"William,  a  country  fellow  in  As  Ymi  Like  It,  introduced  in  v.  i, 
in  love  with  Audrey,  who  is  captivated  by  Touchstone. 

Williams,  character  in  Henry  V.,  a  soldier  in  the  army,  first 
appears  in  iv.  1,  where  Henry  in  his  incognito  talks  with  him  and 
exchanges  gloves  with  him.     The  outcome  of  the  episode  is  in  iv.  8. 

Will-o'-the-wisp,  called  a  Jack,^  The  Tempest,  iv.  1 ;  a.  fire- 
drake,  Henri/  VIII.,  v.  4;  a  walking  fire,  King  Lear,  Hi.  4. 

Willoughby,  Lord  William  de,  an  unimportant  character  in 
Richard  II.,  a  partisan  of  Bolingbroke,  introduced  in  ii.  3. 

Willow,  the,  allusions  to  it  as  a  symbol  of  disappointed  love, 
Merchant  of  Venice,  v.  1;  III.  Henry  VI.,  Hi.  3;  Hamlet,  iv.  7; 
Othello,  iv.  3 ;  Much  Ado  about  Nothing,  ii.  1. 

Wiltshire,  James  Butler,  Earl  of,  spoken  of  in  III.  Henry  VI., 
i.  1.  He  was  a  Lancastrian,  was  wounded  at  St.  Alban's,  taken 
prisoner  at  Towton,  and  beheaded  in  1460. 

Wiltshire,  "William  le  Scrope,  Earl  of,  has  the  realm  in  farm, 
Richard  IL,  ii.  1.  He  was  a  favourite  of  the  king,  who  created  him 
earl  in  1395.  On  the  landing  of  Henry  of  Lancaster,  in  1399,  he  was 
taken  and  beheaded  without  a  trial. 

Win,  they  laugh  that,  Othello,  iv.  1. 

Winchester,  Henry  Beaufort,  Cardinal,  and  Bishop  of  (1370- 
1447),  character  in  the  first  and  second  parts  of  Henry  VI.,  intro- 
duced in  the  first  scene  of  each.  He  was  a  son  of  John  of  Gaunt 
and  Catherine  Swynford,  and  was  therefore  an  uncle  of  Humphrey, 
Duke  of  Gloucester,  the  relationship  referred  to  in  I.  Henry  VI.,  Hi. 
1.  He  was  the  leader  of  the  peace  party,  Gloucester  of  the  war 
party ;  their  hatred  toward  each  other  is  expressed  in  /.  Henry  VI., 
i.  1,  3.  The  play  follows  tradition  in  imputing  to  Winchester  a 
share  in  Gloucester's  death  and  the  consequent  remorse  and  horrible 
end;  but  there  is  said  to  be  no  authentic  evidence  in  favor  of  it. 
He  is  described  by  Holinshed  as  "  haughty  in  stomach,  high  in  coun- 
tenance, and  strong  in  malice  and  mischief."  He  was  called  Cardi- 
nal of  England,  though  the  Bishop  of  Durham  was  a  cardinal  at  the 
same  time,  and  Beaufort's  title  was  Cardinal  of  St.  Eusebius. 

Winchester,  Stephen  Gardiner,  Bishop  of.     See  Gardiner. 

Winchester  goose,  I.  Henry  VI.,  i.  3 ;  Troilus  and  Cressida, 
V.  11.  Name  for  a  vile  disease,  or  one  afflicted  with  it.  A  disrepu- 
table part  of  the  town  was  under  the  jurisdiction  of  the  Bishop  of 
Winchester. 


406  INDEX  TO  SEAKSPERE'S  WORKS. 

Wincot  (Wilnecastle),  in  Warwickshire,  near  Stratford,  Taming 
of  the  Shrew,  induction,  2, 

Wind,  something  in  the,  Comedy  of  Errors,  Hi.  2  ;  sits  in  that 
corner,  Much  Ado  about  Nothing,  ii.  3 ;  churlish.  As  You  Like  It, 
ii.  1 ;  little  fire  grows  great  with  little.  Taming  of  the  Shrew,  ii.  1 ; 
ill,  //.  Henry  IV.,  v.  3 ;  III.  Henry  VI.,  ii.  5 ;  that  bows  the  pine, 
Cymheline,  iv.  2;  allusions  to  the  south  or  southwest  wind  as  bring- 
ing wet  weather  and  disease.  The  Tempest,  i.  2 ;  I.  Henry  IV.,  v.  1; 
Coriolanus,  i.  4;  Troilus  and  Cressida,  v.  1 ;  Cymheline,  ii.  3. 

"Windmill,  living  with  cheese  in  a,  L  Henry  IV.,  Hi.  i  ;  in  St. 
George's  Fields,  II.  Henry  IV.,  Hi.  2. 

Windows,  the  eyes,  Richard  HI,  i.  2 ;  v.  3 ;  Cymheline,  ii.  2. 

Winds,  the,  at  sea,  //.  Henry  IV.,  Hi.  1 ;  sightless  couriers, 
Macbeth,  i.  7  ;  Lear's  appeal  to,  Ki7ig  Lear,  Hi.  2. 

Windsor,  twenty-three  miles  west  of  London,  scene  of  the  Merry 
Wives  of  Windsor.  It  has  been  conjectured  that  Elizabeth  was  at 
Windsor  Castle  when,  according  to  the  tradition,  it  was  written  for 
her,  and  that  it  was  first  acted  there,  the  scene  being  laid  at  Windsor 
to  give  the  play  a  local  interest.  Heme's  oak,  which  is  introduced 
in  V.  3-5,  stood  in  Windsor  Little  Park. 

Windsor  Castle,  scene  of  v.  6  in  Richard  II. ;  spoken  of  in  the 
3Ierry  Wives  of  Wi7idsor,  v.  5. 

Wine,  the  temptation  of.  Merchant  of  Venice,  i.  2 ;  good,  needs 
no  bush.  As  You  Like  It,  epilogue  ;  effect  of,  Timon  of  Athens,  iv. 
3.  "  Nor  on  the  beasts  themselves,"  etc. ;  of  life,  is  drawn,  Macbeth, 
H.  3 ;  good  wine,  a  good  creature,  if  well  used — invisible  spirit  of, 
Othello,  H.  3,  Cassio's  speech ;  the  conquering,  Antony  and  Cleopatra, 
H.  7 ;  unkindness  buried  in,  Julius  Ccesar,  iv.  3 ;  loquacity  after 
taking,  Henry  VIII,  i.  4-    See  Drunkenness. 

Winning,  would  put  any  man  into  courage,  Cymheline,  ii.  3. 

Winter,  song  of.  Love's  Labour's  Lost,  v.  2 ;  age  like  a  lusty. 
As  You  Like  It,  ii.  3 ;  a,  sad  tale  for.  A  Winter's  Tale,  ii.  1 ;  hu- 
mourous as,  II.  Henry  IV.,  iv.  4.;  of  our  discontent,  Richard  III, 
i.  1 ;  not  gone,  if  the  wild  geese  fly  that  way.  King  Lear,  H.  4 ; 
tames  man,  woman,  and  beast.  Taming  of  the  Shrew,  iv.  1. 

Winter's  Tale,  A,  was  written  late  in  1610  or  early  in  1611.  It 
is  founded  on  a  story  by  Robert  Greene,  first  published  in  1588 
under  the  name  of  "  Pandosto,"  and  again  in  1609,  with  the  title, 
"  The  Historie  of  Dorastus  and  Fawnia."  See  Sources.  The  story 
was  very  popular,  and  passed  through  many  editions.  Shakspere 
followed  it  quite  closely  in  most  points,  but  in  the  story  Hermione  is  • 


INDEX  TO  SHAKSPERE'S    WORKS,  407 

actually  dead,  and  the  love  of  Leontes  for  Perdita,  merely  hinted  at 
in  fhe  play,  drives  him  to  suicide  in  the  story.  The  time  of  the  play 
cannot  be  determined,  or,  rather,  it  has  no  time.  Pagan  and  Chris- 
tian usages  and  expressions  are  recklessly  mingled.  The  queen  is 
daughter  of  the  Emperor  of  Russia,  and  her  innocence  is  attested  by 
the  oracle  at  Delphos.  The  scene  of  action  is  first  in  Sicilia,  after- 
ward in  Bohemia,  then  again  in  Sicilia.  This  play  is  regarded  as 
one  of  the  best  in  its  treatment  of  character  and  motive,  though  its 
plot  defies  all  the  unities. 

Wisdom,  in  self-disparagement,  Measure  for  Measure,  ii.  4 ;  in 
imprisonment.  Measure  for  Measure,  i.  3 ;  an  appearance  of,  in 
silence,  Merchant  of  Venice,  i.  1 ;  waiting  on  folly,  AlVs  Well  that 
Ertds  Well,  i.  1 ;  too  great  a  show  of.  All's  Well  that  Ends  Well, 
ii.  J,  "  I  did  think  thee,"  etc. ;  cries  in  the  streets,  /.  Henry  IV.,  i. 
2 ;  gained  in  a  wild  life,  Henry  V.,  i.  1;  of  Ajax,  Troilus  and  Cres- 
sida,  ii.  3 ;  in  combat  with  fortune,  Antony  and  Cleopatra,  Hi.  2 ; 
in  combat  with  blood.  Much  Ado  about  Nothing,  ii.  3 ;  he's  a  fool 
that  will  not  yield  to,  Pericles,  ii.  4. 

Wise,  the,  folly  of,  As  You  Like  It,  ii.  7 ;  knows  his  folly.  As 
You  Like  It,  v.  1 ;  all  places  home  to,  Richard  II.,  i.  3 ;  do  not 
wail,  Richard  II.,  Hi.  2  ;  the  young  and,  do  ne'er  live  long,  Richard 
III,  Hi.  1. 

Wise-woman  (witch),  Merry  Wives  of  Windsor,  iv.  5. 

Wish(es),  thy  own,  wish  I  thee,  Love's  Labour's  Lost,  ii.  1;  the 
best,  AlVs  Well  that  Ends  Well,  i.  1 ;  father  to  the  thought,  II. 
Henry  IV.,  iv.  4. 

Wishers,  were  ever  fools,  Antony  and  Cleopatra,  iv.  13  or  15. 

Wisp  of  straw,  allusion  to  a,  as  the  badge  of  a  scold,  III.  Henry 
VI.,  ii.  2. 

Wit,  winding  the  watch  of,  The  Tempest,  ii.  1;  not  to  go  unre- 
warded. The  Tempest,  iv.  1;  love  bought  with,  Two  Gentlemen  of 
Verona,  i.  1 ;  borrows  and  spends.  Two  Gentlemen  of  Verona,  ii.  4 ; 
without  will,  Two  Gentlemen  of  Verona,  ii.  6 ;  on  ill  employment, 
Jlerry  Wives  of  Windsor,  v.  5  ;  what  is,  in  the  great,  is  profanation 
in  the  humble.  Measure  for  Measure,  ii.  2  ;  given  to  men  in  place  of 
hair.  Comedy  of  Errors,  ii.  2 ;  a  skirmish  of,  Much  Ado  about 
Nothing,  i.  1 ;  Beatrice's,  Much  Ado  about  Nothing,  ii.  1 ;  Hi.  1 ; 
some  remnants  of,  Much  Ado  about  Nothing,  H.  3 ;  the  wit  is  out 
when  age  is  in.  Much  Ado  about  Nothing,  Hi.  5 ;  Benedick's,  Much 
Ado  about  Nothing,  v.  1,  2  ;  a  manly,  Much  Ado  about  Nothing,  v. 
2;    d,  sharp,  Love's  Labour's  Lost,  ii.  1;    peddling  second-hand. 


408  INDEX  TO  SHAKSPERE'S  WORKS. 

Love's  Labour's  Lost^  v,  2 ;  turned  fool,  Love's  Labour's  Lost,  v,  Bi 
the  whetstone  of,  As  You  Like  If,  i.  2  ;  with  understanding.  As  You 
Like  It,  Hi.  3 ;  in  women.  As  You  Like  It,  iv.  1 ;  has  much  to  an- 
swer for.  As  You  Like  It,  v.  1;  with  honour,  AlVs  Well  that  Ends 
Well,  i.  2 ;  harmed  by  beef,  Twelfth  Night,  i,  3 ;  those  that  think 
they  have.  Twelfth  Night,  i.  5;  enough,  to  lie  straight.  Twelfth 
Night,  ii.  3 ;  to  play  the  fool.  Twelfth  Night,  Hi.  1;  the  cause  of,  in 
other  men,  //.  Henry  IV.,  i.  2 ;  and  sherris,  II.  Henry  IV.,  iv.  3; 
encounter  of,  Richard  III.,  i.  2 ;  lack  of,  Troilus  and  Cressida,  ii. 
1 ;  Hamlet,  ii,  2 ;  brevity  the  soul  of,  Hamlet,  ii.  2 ;  a>  bitter  sweet- 
ing, Romeo  and  Juliet,  ii.  4 ;  pared  on  both  sides.  King  Lear,  i.  4  ; 
more  man  than.  King  Lear,  ii.  4;  depends  on  time,  Othello,  ii.  3 ; 
waits  on  fear,  Venus  and  Adonis,  I.  690.    See  also  Wits. 

Wit,  skull  of  a,  Hamlet,  v.  1 ;  an  unconscious,  As  You  Like  It, 
ii.  4,  "  I  shall  never  be  'ware  of  my  own  wit  till  I  break  my  shins 
against  it." 

Witclicraft,  of  Sycorax,  {q.  v.),  The  Tempest,  i.  2  ;  allusions  to, 
Merry  Wives  of  Windsor,  iv.  2  ;  Comedy  of  Errors,  i.  2 ;  ii.  2  ;  Hi.  2  ; 
Twelfth  Night,  Hi.  4 ;  I.  Henry  VL,  i.  5,  "  Blood  will  1  draw ; "  a 
witch  was  supposed  to  be  rendered  powerless  by  loss  of  blood ;  I. 
Henry  VL,  v.  3,  "  Monarch  of  the  north  ; "  Ziminar,  a  devil  invoked 
by  witches;  other  allusions  to,  II.  Henry  VI.,  i.  2,  4;  ii.  1-4;  ac- 
cusation of,  Richard  III,  Hi.  4 1  charm  against  (God  save  her), 
Henry  VIII.,  v.  4;  incantations  of,  Macbeth,  iv.  1.  See  also  under 
Mahu.  In  Macbeth,  i.  3 ;  iv.  1 ;  and  v.  3,  many  popular  notions 
about  witches  are  alluded  to — that  they  could  sail  any  sea  in  a  shell 
or  a  sieve ;  that  they  could  assume  the  form  of  any  animal ;  that 
they  sold  winds ;  that  they  are  connected  with  the  moon  ;  that  they 
untie  the  winds  to  fight  against  the  churches,  etc.  The  use  of  the 
supernatural  in  the  plays  of  Shakspere  was  in  accord  with  the  belief, 
universal  in  his  time,  in  witchcraft,  ghosts,  omens,  and  portents  of 
all  kinds.  The  law  against  witches,  which  had  been  repealed  in  the 
time  of  Edward  VI.,  was  re-enacted  in  the  time  of  Elizabeth,  because 
they  had  so  terribly  increased ;  and  during  the  reign  of  James  1.  the 
crime  of  witchcraft  was  made  punishable  by  death  upon  the  first 
conviction,  Coke  and  Bacon  being  members  of  the  Parliament  that 
passed  the  law.  King  James  published  a  book  on  "  Demonology," 
in  1603 ;  but  men  of  far  higher  intellect  were  firm  believers  in  the 
power  of  witches.  Sir  Thomas  Browne  declares  that  those  who 
doubt  it  are  atheists.  Bishop  Jewell,  in  a  sermon  before  the  queen, 
drew  an  affecting  picture  of  the  wasting  away  of  the  victims  of  sor- 


INDEX  TO  SHAKSPERE'S  WORKS.  409 

eery.  The  names  of  familiars  of  witches,  that  are  used  in  the  plays, 
Barbason,  Mahu,  Smulkin,  and  others,  are  found  in  the  writings  of 
Reginald  Scott,  who  published  a  book  on  witchcraft,  in  1584,  and 
of  other  authors  of  the  time. 

■Witcli(es),  Sycorax,  The  Tempest;  of  Brentford,  the,  3Ierry 
Wives  of  Windsor,  iv.  2 ;  beards  of,  Merry  Wives  of  Windsor,  iv. 
2 ;  Ephesus  full  of.  Comedy  of  Errors,  i.  3 ;  Joan  of  Arc  accused 
of  being  a,  I.  Henry  VI.,  i.  5 ;  the  Duchess  of  Gloucester  accused, 
11.  Henry  VI.,  ii.  3;  Edward's  wife  d,,  Richard  III,  Hi.  4;  an 
Egyptian,  Othello,  Hi.  4  ;  images  of  wax  made  by.     See  under  Wax. 

Witches,  the,  or  the  Three  Weird  Sisters,  characters  in  JIacbeth, 
playing  substantially  the  same  part  as  in  the  old  record.  These  sis- 
ters answered  to  the  fates  of  mythology,  and  are  by  some  supposed 
to  be  the  Norns  or  fates  of  Scandinavian  mythology,  the  first  of 
.  whom  had  to  do  with  the  past,  the  second  with  the  present,  the  third 
with  the  future.  The  word  is  spelled  "  weyward  "  in  the  folio.  They 
appear  first  in  i.  1,  and  are  seen  by  Banquo  and  Macbeth  in  i.  3, 
where  they  make  their  prophecy,  of  which  the  two  speak  again  in  ii. 
1,  and  Banquo  in  Hi.  1.  They  appear  again  in  Hi.  5  and  in  ii\  1, 
where  they  show  him  the  apparitions  and  make  another  prophecy. 

"  They  are  wholly  different  from  any  representation  of  witches  in 
contemporary  writers,  and  yet  presented  a  sufficient  external  resem- 
blance to  the  creatures  of  ^allgar  prejudice  to  act  immediately  on  the 
audience.  Their  character  consists  in  the  imaginative  disconnected 
from  the  good." — Coleridge. 

Witching-tinie,  of  night,  Hamlet,  Hi.  2. 

Withal,  I  could  not  (could  not  help).  Merchant  of  Venice,  Hi.  4. 

Withers,  our,  are  unwrung,  Hamlet,  Hi.  2. 

Withold,  Saint,  footed  thrice  the  wold,  King  Lear,  Hi.  4. 

Witiiess(es),  false,  Henry  VIIL,  v.  1 ;  conscience  a,  Cymbeline, 
ii.  2  ;  of  murder,  Macbeth,  H.  2. 

Wits,  of  the  home-keeping,  are  homely — love  inhabits  in  the 
finest,  Two  Gentlemen  of  Verona,  i.  1 ;  the  five.  Much  Ado  about 
Nothing,  i.  1 ;  Twelfth  Night,  iv.  2 ;  King  Lear,  Hi.  4  ;  Romeo  and 
Juliet,  i.  4 ;  the  intellectual  faculties,  corresponding  to  the  five 
senses;  fat,  I.  Henry  IV.,  i.  2 ;  lack  of,  is  no  matter  in  England, 
Hamlet,  v.  1.    See  also  Wit. 

Wit-snapper,  a,  Merchant  of  Venice,  Hi.  5. 

Wittenberg-,  school  at,  Hamlet,  i.  2.  The  university  dates  from 
the  year  1502,  while  the  Danish  history,  from  which  the  tale  of  Ham- 
let is  drawn,  was  written  at  about  the  end  of  the  twelfth  century. 


4:10  INDEX  TO  SHAKSPERE'S  WORKS. 

Wittol,  quibble  on.  Merry  Wives  of  Windsor,  ii.  2,  end, 

Wizard(s),  prophecy  by,  //.  Henry  VL,  i.  4;  v.  2;  Richard 
III.,  i.  1. 

Woe,  faintly  borne,  Richard  II.,  i.  3 ;  to  the  land  governed  by 
a  child,  Richard  III,  ii.  3 ;  for  England,  Richard  III,  Hi.  4 ;  if 
sour,  delights  in  fellowship,  Romeo  and  Juliet,  Hi.  2 ;  trappings  of, 
Hamlet,  i.  2;  a  charm  against  death,  Cymheline,  v.  3 ;  fellowship  in. 
Lucrece,  lines  790,  1111.    See  Grief  and  Sorrow. 

Woes,  comparison  of,  Much  Ado  about  Nothing,  v.  1 ;  a  tide  of, 
Richard  II,  ii.  2 ;  wise  men  ne'er  wail  their  present,  Richard  II., 
Hi.  2  ;  lose  knowledge  of  themselves.  King  Lear,  iv.  6. 

Wolf  (wolves),  thy  currish  spirit  governed  a.  Merchant  of  Venice, 
iv.  1 ;  Irish,  As  You  Like  It,  v.  2 ;  have  done  offices  of  pity,  A  Win- 
ter's Tale,  ii.  3 ;  to  make  a,  II.  Henry  IV.,  i.  2 ;  eat  like,  Henry  V., 
Hi.  7 ;  in  sheep's  array,  I  Henry  VI.,  i.  3  ;  English,  I.  Henry  VI, 
i.  6 ;  arouse  the  jades  that  drag  the  night,  //,  Henry  VI.,  iv.  1; 
loves  the  lamb,  Coriolanus,  ii.  1 ;  sentinels  of  murder,  Macbeth, 
ii.  1. 

Wolsey,  Thomas,  Archbishop  of  York  and  cardinal,  character 
in  Henry  VIII,  introduced  in  the  first  scene,  where  he  is  spoken  of 
as  a  "  butcher's  cur."  His  father  was  a  wealthy  butcher  at  Ipswich. 
His  power,  ambition,  and  ability  are  spoken  of  in  i.  1;  he  is  charged 
with  oppressive  taxation,  i.  2 ;  hated  by  the  commons,  ii.  1 ;  his 
reasons  for  urging  the  divorce,  ii.  1,  2  ;  Katherine  to  him,  ii.  4;  his 
double-dealing  discovered,  the  king's  ironical  praise,  his  fall,  and 
soliloquy,  Hi.  2  ;  Henry  reading  the  inventory  of  his  property.  Hi.  2. 
(A  mistake  like  this  is  said  to  have  been  made  by  the  Bishop  of  Dur- 
ham, and  used  by  Wolsey  to  ruin  him.)  His  death  and  character, 
iv.  2.  This,  put  into  the  mouths  of  Katherine  and  Griffith,  is  taken 
almost  literally  from  Holinshed.  His  farewell  to  greatness  in  the  cele- 
brated soliloquy  is  by  some  critics  attributed  to  Fletcher.  Wolsey 
is  one  of  the  great  characters  of  the  historic  plays — haughty,  ambi- 
tious, tricky,  revengeful,  he  assumes  equal  power  with  the  king,  in- 
tends to  make  himself  pope,  pursues  the  unfortunate  Buckingham 
to  death,  and  raises  the  question  of  illegality  in  the  king's  marriage 
in  order  to  bring  about  a  union  with  the  sister  of  the  French  king, 
and  thereby  further  his  own  ambitious  plans.  But  the  king  makes 
his  own  choice  of  Katherine's  successor,  and  Wolsey's  scheme  falls 
to  the  ground,  followed  by  his  own  ruin.  In  his  fall  he  is  repre- 
sented in  the  play  as  noble,  dignified,  and  Christian-like. 

Woman  (women),  reason  of  a,  Two  Oentlemen  of  Verona,  i,  2 ; 


INDEX  TO  SHAKSPERE'S   WORKS.  411 

a  fat,  Comedy  of  Errors,  in.  f ;  a  jealous,  Comedy  of  Errors,  v.  1; 
graces  of  a.  Much  Ado  about  Nothing,  ii.  3 ;  fortune's  gifts  to.  As 
You  Like  It,  i.  2  ;  curiosity  and  impatience  of,  As  You  Like  It,  Hi. 
2,  "  Doublet  and  hose  in  my  disposition ;  "  caprices  of,  As  You  Like 
It,  Hi.  2 ;  wit  of.  As  You  Like  It,  iv.  1 ;  of  the  world  (married).  As 
You  Like  It,  v.  3 ;  tongue  of  a.  Taming  of  the  Shrew,  i.  2,  "Why 
came  I  hither,"  etc. ;  duty  of  a.  Taming  of  the  Shrew,  v.  2  ;  offer  of 
love  from  a.  Twelfth  Night,  Hi.  1,  4 ;  a,  born  to  fears,  King  John, 
Hi.  1 ;  mood  of  a,  I.  Henry  I V.,  i.  3  ;  a,  therefore  to  be  won,  /.  Hen- 
ry VI.,  V.  3  ;  was  ever,  in  this  humour  won,  Richard  III.,  i.  2  ;  shal- 
low-changing, Richard  III.,  iv.  4 ;  answer  of  a,  Troilus  and  Cres- 
sida,  i.  i ;  a  mannish,  Troilus  and  Cressida,  Hi.  3 ;  ambition  of  a 
Roman,  Coriolanus,  i.  3 ;  she  is  a,  therefore,  Titus  Andronicus,  ii. 
1 ;  an  unsexed,  Macheth,  i.  5 ;  to  play  the,  Macbeth,  iv.  3 ;  one  not 
born  of,  Macbeth,  v.  5 ;  s^  name  for  frailty,  Hamlet,  i.  2 ;  0  most 
pernicious,  Hamlet,  i.  5  ;  painting  and  affectations  of,  Hamlet,  Hi.  1 ; 
tears  the  weapons  of,  King  Lear,  ii.  4;  deformity  in.  King  Lear, 
iv.  2 ;  will  of,  King  Lear,  iv.  6 ;  voice  of.  King  Lear,  v.  3 ;  the 
devil  will  not  eat  a,  Antony  a7id  Cleopatra,  v.  2 ;  inconstancy  of, 
Cymbeline,  i.  6;  ii.  4,  5 ;  all  faults  in,  Cymbeline,  ii.  5 ;  in  man's 
attire,  Cymbeline,  Hi.  4,  6  ;  who  can  read  a,  Cymbeline,  v.  5  ;  a  man 
with  the  beauty  of  a,  Sonnet  xx. ;  wooing  of  a.  Sonnet  xli. ;  ad- 
miration for,  The  Tempest,  Hi.  1 ;  in  man's  attire,  Julia  in  the 
Two  Gentlemen  of  Verona;  Rosalind  in  As  You  Like  It;  Viola 
in  Twelfth  Night ;  Imogen  in  Cymbeline ;  curiosity  of.  Two  Gen- 
tlemen of  Verona,  i.  2 ;  love  of,  for  gifts — scorn  what  best  contents 
them — are  won  by  a  tongue — the  only  virtue  of,  Two  Gentlemen 
of  Verona,  Hi.  1 ;  three  things  hated  by.  Two  Gentlemen  of  Verona, 
Hi.  2 ;  frailty  of,  Measure  for  Measure,  ii.  4  ',  an  oath  not  to  see, 
Love's  Labour^ s  Lost,  i.  1 ;  ii.  1 ;  like  German  clocks,  Love's  La- 
bour's Lost,  Hi.  1,  end ;  are  books  and  academes.  Love's  Labottr's 
Lost,  iv.  3 ;  keen  tongues  of,  Love's  Labour's  Lost,  v.  2 ;  were  not 
made  to  woo,  Midsummer-Night's  Dream,  H.  2 ;  kindness  In,  Tam- 
ing of  the  Shrew,  iv.  2  ;  ornaments  of,-  Taming  of  the  Shrew,  iv.  3 ; 
should  be  submissive,  Taming  of  the  Shrew,  v.  2 ;  one  good  in  ten. 
All's  Well  that  Ends  Well,  i.  3;  easily  captivated.  Twelfth  Night,, 
ii.  2 ;  should  marry  men  older  than  themselves — less  fickle  than  men 
— are  as  roses — love  of,  Twelfth  Night,  ii.  4 ;  are  won  by  valour,. 
Twelfth  Night,  Hi.  2  ;  how  influenced — treachery  of — office  that  be- 
comes, A  Winter's  Tale,  i.  2 ;  stopping  the  tongues  of — a  scolding, 
A  Winter's  Tale,  ii.  3 ;  war  of,  Richard  II.,  ii.  1 ;  Welsh,  I.  Henry 


412  INDEX  TO  SHAKSFEBE'S  WORKS, 

IV.,  i.  1;  secrets  with,  /.  Henry  IF.,  ii.  3 ;  the  son  of  a,  and  yet 
with  fewer  words  than  a  parrot,  1.  Henry  IV.,  ii.  4.;  shrewd  tempt- 
ers, I.  Henry  VI.,  i.  2;  beauty,  virtue,  and  government  in — the 
queen  unlike,  III.  Henry  VI.,  i.  4;  when  men  are  ruled  by,  Eichard 
III,  i.  1 ;  won  by  flattery,  Richard  III.,  iv.  1 ;  love  eminence,  Hen- 
ry VIII.,  ii.  3 ;  are  angels  when  wooed,  Troilus  and  Cressida,  i.  2, 
end;  that  they  had  men's  privileges — constancy  in,  Troilus  and 
Cressida,  Hi.  2 ;  light,  Troilus  and  Cressida,  iv.  5 ;  are  governed 
by  the  eyes,  Troilus  and  Cressida,  v.  2 ;  hearing  praise  of  valour, 
Coriolanus,  i.  9 ;  a,  deputation  of,  Coriolanus,  v.  3 ;  tears  of,  Corio- 
lanus,  V.  6 ;  Lucrece,  I.  1137 ;  Roman  custom  for,  Julius  Ccesar, 
i.  2;  in  keeping  counsel — weak-hearted,  Julius  Ccesar,  ii.  4;  will 
all  turn  monsters  if,  etc..  King  Lear,  Hi.  1 ;  sarcasms  on,  Othello, 
ii.  1;  Venetian,  Othello,  Hi.  3 ;  tears  of,  Othello,  iv.  1;  unkindness 
to,  Antony  and  Cleopatra,  i.  2 ;  charms  of  a,  Antotiyand  Cleopatra, 
ii.  2 ;  criticism  of  one,  by  another,  Antony  and  Cleopatra,  Hi.  3 ; 
never  strong,  Antony  and  Cleopatra,  Hi.  10  or  12 ;  fickleness  of, 
Sonnet  xx.;  waxen  minds  of,  Lucrece,  I.  I24O ;  not  responsible,  Lu- 
crece, lines  124.4,  1257  ;  to  woo.  Passionate  Pilgrim,  xix. 

Woman  (to  frighten  as  a  woman),  AlVs  Well  that  Ends  Well, 
Hi.  2. 

Womanhood,  let  it  not  be  believed  for,  Troilus  and  Cressida, 
V.  2. 

Woman-tired  (governed  by  a  woman),  A  Wi7iter's  Tale,  H.  3. 

Won,  things,  Troilus  and  Cressida,  i.  2,  end. 

Wonder,  at  unnatural  things,  Macbeth,  Hi.  4;  The  Tempest, 
V.  1 ;  Othello,  ii.  1 ;  Richard  HI.,  Hi.  7 ;  attired  in,  3Iuch  Ado 
about  Nothing,  iv.  1 ;  rarest  argument  of,  AlVs  Well  that  Ends  Well, 
ii.  1 ;  nine  days'.  As  You  Like  It,  Hi.  2 ;  ten  days'.  III.  Henry  VI., 
Hi.  2 ;  a,  sonnet  beginning  "  Wonder  of  nature,"  Henry  V.,  Hi.  7. 

Wondered  (endowed  with  wonderful  power).  The  Tempest,  iv.  1. 

Wood,  or  wode  (wild,  frantic),  Midsummer-Nighfs  Dream.  H.  1 ; 
Venus  and  Adonis,  I.  740. 

Woodbine,  3Iuch  Ado  about  Nothing,  Hi.  1;  31idsummer- 
Nighfs  Dream,  ii.  2  ;  iv.  1. 

Woodcock  (a  gullible  or  cowardly  fellow),  3Iuch  Ado  about 
Nothing,  v.  1 ;  Taming  of  the  Shrew,  i.  2  ;  Love's  Labour's  Lost,  iv, 
3;  All's  Well  that  Ends  Well.  iv.  1;  Twelfth  Niuht,  iv.  2. 

Woods,  life  in  the.  As  You  Like  It,  ii.  1 ;  ruthless,  Titus  Ati- 
dronicus,  ii.  1,  3  ;  Bolingbroke's  felled,  Richard  IL,  Hi.  1. 

Woodville,   Richard,  Lieutenant  or  Constable  of  the  Tower 


INDEX  TO  SHAKSPERE'S   WORKS.  413 

afterward  Earl  Rivers,  character  in  1.  Henry  VI..  appears  in  i.  3. 
He  was  said  to  be  the  handsomest  man  of  his  day  in  Enghxnd.  He 
married  the  widow  of  the  Duke  of  Bedford,  Jacqueline  of  Luxem- 
bourg, without  waiting  for  the  consent  of  his  sovereign ;  for  this 
offence  he  was  fined  a  thousand  pounds :  but  he  was  soon  forgiven, 
and  was  made  Baron  Rivers  in  1448.  His  daughter  Elizabeth  be- 
came the  wife  of  Edward  IV.,  and  his  son  Anthony  is  the  Earl  Riv- 
ers of  Richard  III.  After  the  marriage  of  his  daughter,  he  became 
a  zealous  Yorkist,  and  being  taken  by  the  insurgents  after  the  battle 
of  Edgecote  (July  26,  1469),  he  and  his  son,  Sir  John  Woodville, 
were  beheaded,  without  trial,  at  Coventry. 

Woodville,  Anthony.     See  Rivers. 

Wooing,  by  a  figure.  Two  Qentlemen  of  Verona,  ii.  1 ;  an  odd, 
Taming  of  the  Shrew,  ii.  1;  in  haste,  Taming  of  the  Shreiv,  Hi.  2 ; 
in  rhyme.  Love's  Labour's  Lost,  v.  3 ;  a,  king's,  Henry  V.,  v.  2 ;  an 
unique,  Richard  III.,  i.  2  ;  love. sweeter  in,  Troilus  and  Cressida,  i. 
2,  end  ;  idle,  Hamlet,  i.  3 ;  a,  soldier's,  Othello,  i.  3  ;  women  were  not 
made  for,  Midsummer-Nigh  fs  Dream,  ii.  1  or  2 ;  wedding  and  re- 
penting. Much  Ado  about  Nothing,  ii.  L 

Woolward,  go,  for  penance,  Love's  Labour's  Lost,  v.  2.  Go 
clothed  in  wool  instead  of  linen,  sometimes  imposed  as  a  penance. 

Worcester,  burial  of  John  at.  King  John,  v.  7.  The  stone  coffin 
of  John  was  found  in  the  cathedral  at  Worcester,  July  17,  1797. 

Worcester,  Thomas  Percy,  Earl  of.  character  in  I.  Henry  IV., 
introduced  in  i.  3.  He  is  Hotspur's  uncle,  and  in  rebellion  against 
the  king.  His  defection  from  Henry's  predecessor  is  recounted  in 
Richard  II.,  ii.  2.  He  is  calculating,  false,  and  selfish,  and  will  not 
report  to  Hotspur  the  king's  offer  of  mercy,  lest  he  himself  should  in 
the  event  of  a  reconciliation  live  constantly  under  suspicion.  West- 
moreland says  of  him,  "  This  Worcester,  malevolent  to  you  in  all 
aspects,"  i.  1.  He  was  taken  prisoner  at  Shrewsbury,  and  beheaded 
two  days  later, 

Word(s),  crammed  into  the  ears.  The  Tempest,  ii.  1 ;  his,  are 
bonds.  Two  Gentlemen  of  Verona,  ii.  7 ;  evil,  double  deeds,  Comedy 
of  Errors,  Hi.  2 ;  ill,  empoison  liking,  3Iuch  Ado  about  Nothing. 
Hi.  1 ;  high,  to  low  matter.  Love's  Labour's  Lost,  i.  1 ;  pronuncia- 
tion of  certain — longest  of  all,  Love's  Labour's  Lost,  v.  1 ;  an  army 
of  good,  Merchant  of  Venice,  Hi.  5 ;  a  man  of  (Parolles,  which 
means  words).  All's  Well  that  Ends  Well;  dallying  with.  Twelfth 
Night,  Hi.  1 ;  bethumped  with.  King  John,  ii,  2 ;  like  a  woman's, 
I.  Henry  IV.,  i.  3 ;  of  the  dying,  Richard  II.,  H.  1 ;  windy  attor- 
9.7 


414  INDEX  TO  SHAKSPERE'S    WORKS. 

neys,  Richard  III.,  iv.  4;  mere,  Troilus  and  Cressida,  v.  3 ;  and 
strokes,  Julius  CcBsar,  v.  1 ;  unpack  the  heart  with,  Hamlet,  it.  2  ; 
without  thoughts,  Hamlet,  Hi.  3 ;  to  grief,  Othello,  i.  3 ;  to  tire  the 
hearer  with  a  book  of.  Much  Ado  about  Nothing,  i.  1 ;  an  exchequer 
of,  but  no  other  treasure,  Two  Oeritlemen  of  Verona,  ii.  ^ ;  a  soldier- 
like, II.  Henry  IV.,  Hi.  2  ;  have  put  to  flight  when  blows  could  not, 
Coriolanus,  ii.  2 ;  unprofitable,  Lucrece,  I.  1016 ;  wind  of,  Lucrece, 
I.  1330. 

Work,  a  noble,  vilely  bound  up,  A  Winter's  Tale,  iv.  3  or  4. 

Workingmen,  rebellion  of,  //.  Henry  VI.,  iv.  2;  discontent 
among,  Henry   VIII.,  i,  2. 

World,  on  wheels,  a.  Two  Gentlemen  of  Verona,  Hi.  1 ;  an  oyster, 
Merry  Wives  of  Windsor,  ii.  2 ;  delights  of  the,  renounced,  Love's 
Labour's  Lost,  i.  1;  weariness  of  the,  3Ier chant  of  Venice,  i.  2 ; 
bought  with  care — a  stage,  Merchant  of  Venice,  i.  1 ;  As  You  Like 
It,  ii.  7 ;  what  a,  is  this.  As  You  Like  It,  ii.  3;  how  wags — ^the  in- 
fected. As  You  Like  It,  ii.  7 ;  a,  to  see  (a  wonder  to  see).  Taming  of 
the  Shrew,  ii.  1 ;  go  to  the  (to  marry),  AlVs  Well  that  Ends  Well, 
i.  3  ;  turned  by  commodity,  or  interest,  King  John,  ii.,  end ;  doffed 
aside,  I.  Henry  1 V.,  iv.  1 ;  to  bustle  in  the,  Richard  III.,  i.  1 ;  all, 
to  nothing,  Richard  III,  i.  2 ;  vain  pomp  and  glory  of  the,  Henry 
VIIL,  Hi.  2  ;  slippery  turns  of  the,  Coriolanus,  iv.  4 ;  to  do  harm 
in  the,  often  laudable,  Macbeth,  iv.  2  ;  weariness  with,  Macbeth,  v.  5  ; 
all  uses  of  it,  weary,  stale,  etc.,  Hamlet,  i.  2;  mutations  of  the,  King 
Lear,iv.  1;  a  stage  of  fools.  King  Lear,  iv.  6;  this  tough,  King 
Lear,  v.  3 ;  the  future,  Antony  and  Cleopatra,  iv.  12  or  I4 ;  re- 
nouncing the,  different  from  being  in  ignorance  of  the,  Gymbeline, 
Hi,  3;  deceit  of  the,  Richard  III,  Hi.  1 ;  praise  of  the.  Sonnet  Ixix. 

Worldlings,  testaments  of.  As  You  Like  It,  ii.  1, 

Worra(s),  that  hath  eat  a  king,  Hamlet,  iv.  3;  man  a.  King 
Lear,  iv,  1 ;  the  word  is  often  used  for  serpent,  as  Antony  and  Cleo- 
patra, V.  2  ;  allusion  to  the  notion  that  toothache  was  caused  by  a, 
3Iuch  Ado  about  Nothing,  Hi.  2;  food  for,  I.  Henry  IV.,  v.  4;  the 
only  emperors  for  diet — politic,  Hamlet,  iv.  3,  or  v.  7. 

Worship  (nobility),  Henry  VIIL,  i.  1,  and  elseivhere. 

Worst,  the,  afraid  to  hear,  KiJig  John,  iv.  2  ;  better  in  fortune 
than  the  mean,  King  Lear,  iv.  1  ;  fear  of,  Troilus  and  Cressida, 
Hi.  2, 

Worth,  sorry  your  choice  is  not  so  rich  in,  as  beauty,  A  Winter's 
Tale,  V.  1;  that  stood  challenger  on  mount  of  all  the  age  (Ophelia's), 
Hamlet,  iy.  7  ;  perpetuated  in  verse,  Sonnet  Ixxxi, 


INDEX  TO  SHAKSPERE'S    WORKS.  415 

Worthies,  the  Nine,  Love's  Labours  Lost,  v.  1 ;  IL  Henry  IV^ 
ii.  4.  They  were  :  three  heathens — Hector,  Alexander,  and  CaBsar ; 
three  Jews— Joshua,  David,  and  Judas  Maccabasus ;  and  three  Chris- 
tians— Arthur,  Charlemagne,  and  Godfrey  of  Bouillon.  Shakspere 
includes  Pompey  and  Hercules. 

Worts,  quibble  on,  Merry  Wives  of  Windsor,  i.  L  A  general 
name  for  vegetables  of  the  cabbage  kind. 

Wound(s),  one,  to  be  healed  by  many,  Kiyig  John,  v.  2  ;  notion 
that  they  open  in  presence  of  the  murderer,  Richard  IIL,  i.  2 ;  the 
custom  of  showing,  when  seeking  an  election,  Coriolamis,  ii.  3 ;  he 
that  never  felt  a,  jests  at  sears,  Romeo  and  Juliet,  ii.  2 ;  one  not  so 
deep  as  a  well,  nor  so  wide  as  a  church-door,  Romeo  and  Juliet^ 
iii.l;  Caesar's,  Jidius  Ccesar,  Hi.  1,2  ;  a,  Venus  and  Adonis,  1. 1052. 

Wreak  (revenge),  Romeo  and  Juliet,  Hi.  5 ;  Titus  Andronicus^ 
iv.  3,  If. ;  Coriolanus,  iv.  5. 

Wreck,  of  the  Dauphin's  forces,  Ki7ig  John,  v.  3  ;  as  rocks  cheer 
them  that  fear  their,  IIL  Henry  VI.,  ii.  2  ;  as  men  thrown  upon 
sand  from  a,  Henry  Y.,  iv.  1. 

Wren(s),  the  youngest  of  nine,  Twelfth  Night,  Hi.  2.  The  wren 
was  said  to  lay  nine  eggs,  and  the  last  bird  hatched  was  the  small- 
est ;  and  as  Maria  was  very  small,  she  was  called  the  youngest  wren 
of  nine ;  may  prey  where  eagles  dare  not  perch,  Richard  IIL,  i.  3  ; 
parental  love  of,  Macbeth,  iv.  2. 

Wrest  (an  active  power),  Troilus  and  Cressida,  Hi.  3. 

Wrestling",  allusions  to :  on  the  hip.  Merchant  of  Venice,  i.  3  ; 
Othello,  ii.  1 ;  a  wrestling-match,  As  You  Like  It,  i.  2. 

Wretclisdness,  Comedy  of  Errors,  v.  1,  "  A  needy,  hollow- 
eyed,"  etc. ;  last  resort  of.  King  Lear,  iv.  6  ;  of  hanging  on  princes' 
favours,  Henry  VIIL,  Hi.  2  ;  in  poverty,  Romeo  and  Juliet,  v.  1. 

Wrinkles,  of  age,  AlVs  Well  that  Ends  Well,  ii.  4  ;  likened  to 
kingly  sepulchres.  III.  Henry  VI.,  v.  2 ;  let  them  come  with  mirth 
and  laughter.  Merchant  of  Venice,  i.  1. 

Writhled  (wrinkled),  I.  Henry  VI.,  ii.  3. 

Writing,  comes  by  nature,  Much  Ado  about  Nothing,  Hi.  3 ;  let 
it  be  held  treacherous,  Cymbeline,  iv.  2 ;  a,  baseness  to  write  fair, 
Hamlet,  v.  2  ;  in  a  martial  hand,  Twelfth  Night,  ii.  3. 

Wroath  (ill  fortune),  Merchant  of  Venice,  ii.  9. 

Wrong(s),  it  is  dishonourable  to  remember,  Coriolanus,  v.  3  ; 
to  Brutus  and  Cassius,  Julius  Ccesar,  Hi.  2  ;  pocketing  up  of,  Henry 
v..  Hi.  2  ;  humanity  must  prey  upon  itself.  King  Lear,  iv.  2  ;  to  do 
a  great  right,  do  a  little  wrong.  Merchant  of  Venice,  iv.  1;  fears 


4:16  INDEX  TO  SHAKSFERE'S   WORKS. 

attend  the  steps  of,  King  John,  iv.  2  ;  flattery  a,  Richard  II.,  Hi,  2  ; 
to  wear  wrongs  like  raiment,  Timon  of  Athens,  Hi.  2. 

Wrying  (swerving),  Cymbeline,  v.  1. 

Wye,  the,  a  river  in  Herefordshire  and  Monmouthshire,  repulse 
at,  /.  Henry  IV.,  Hi.  1 ;  Henry  V.,  iv.  7. 

Xantippe,  as  curst  and  shrewd  as  Socrates's,  or  a  worse,  Taming 
of  the  Shrew,  i.  2. 

Yare,  yarely  (quick,  speedy,  active,  skilfully).  The  Tempest,  i.  1 ; 
V.  1;  Measure  for  Measure,  iv.  2 ;  Twelfth  Night,  Hi.  4,;  Antony 
and  Cleopatra,  ii.  2 ;  Hi.  7,  and  elsewhere. 

Yaw,  Hamlet,  v.  2.  A  sailor's  word,  meaning  not  to  obey  the 
helm  ;  to  move  unsteadily. 

Yclep'd  (called,  from  clepe).  Love's  Labour's  Lost,  i.  1 ;  v.  2. 

Yead  (Edward),  Merry  Wives  of  Windsor,  i.  1. 

Yearn  (to  grieve),  Henry  V.,  ii.  3 ;  iv.,3 ;  Julius  Cmsar,  ii.  2; 
Richard  II,  v.  5  ;  Merry  Wives  of  Windsor,  Hi.  5. 

Years,  smiles  his  cheek  in.  Love's  Labour^s  Lost,  v.  2  ;  reviewed, 
Henry  Y.,  i.,  chorus ;  the  vale  of,  Othello,  Hi.  3 ;  course  of.  Sonnet 
civ  ;  as  if  the,  had  found  some  months  asleep,  //.  Henry  IV.,  iv.  4. 

Yellowness  (colour  of  jealousy).  Merry  Wives  of  Windsor,  i.  3, 
end  ;  A  Wintei^'s  Tale,  ii.  3,  "  No  yellow  in't,"  etc. ;  Cymbeline,  ii.  5, 

Yeoman  (subordinate),  II.  Henry  IV.,  ii.  1, 

Yeoman-service,  Hamlet,  v.  2. 

Yeomen,  of  England,  Henry  V.,  Hi.  1. 

Yesterday(s),  0,  call  back,  Richard  II,  Hi.  2;  all  our,  have 
lighted  fools,  the  way  to  dusty  death,  Macbeth,  v.  5. 

Yew,  double-fatal,  Richard  I  I,  Hi.  2.  So  called  because  it  was 
used  for  bows,  and  the  leaves  were  poisonous ;  allusion  to  the  cus- 
tom of  placing  sprigs  of  it  in  the  shroud.  Twelfth  Night,  ii.  4,  song  ; 
used  by  witches  when  slivered  in  the  moon's  eclipse,  Macbeth,  iv.  1, 
in  churchyards,  Romeo  and  Juliet,  v.  3. 

Yield  (requite),  Macbeth,  i.  6  ;  Antony  and  Cleopatra,  iv.  2. 

Yorick,  the  king's  jester,  skull  of,  Hamlet,  v.  1. 

York,  a  city,  capital  of  Yorkshire,  172  miles  north  of  London, 
scene  of  //.  Henry  IV.,  i.  3,  and  of  III.  Henry  VI.,  iv.  7  ;  mayor 
of,  III.  Henry  VI.,  iv.  2. 

York,  Archbishop  of,  mentioned  in  III.  Henry  VI.,  iv.  3. 
George  Neville,  brother  of  Warwick.     See  Rotherham  and  Scroop. 

York  and  Lancaster,  Houses  of.     See  Wars  of  the  Roses. 


INDEX  TO  SHAKSPERE'S   WORKS,  417 

York,  Duchess  of,  a  character  in  Richard  II.,  introduced  in  v.  2^ 
where  the  treason  of  her  son  Aumerle  is  discovered  by  her  and  the 
duke.  In  v.  3  she  pleads  with  the  king  for  his  pardon.  The  mother 
of  Aumerle,  the  Duchess  Isabel,  daughter  of  Peter  the  Cruel,  King 
of  Castile  and  Leon,  died  four  or  five  years  earlier  than  the  time 
of  the  play ;  and  the  Duchess  at  this  time  was  his  step-mother,  Joan 
Holland,  daughter  of  the  Earl  of  Kent.  But  Shakspere  evidently 
intends  the  character  for  Aumerle's  own  mother. 

York,  Cicely  NeviDe,  Duchess  of,  wife  of  Richard,  Duke  of  York^ 
and  mother  of  two  kings,  Edward  IV.  and  Richard  III.,  was  distin- 
guished for  her  beauty,  and  was  called  in  her  youth  the  "  Rose  of 
Raby."  She  is  a  character  in  Richard  III.,  where  her  son  instructs 
Buckingham  to  throw  a  slur  on  her  character — which  is  said  to  have 
been  spotless — in  order  to  prove  Edward  illegitimate,  and  put  a^ide 
the  claim  of  his  son  to  the  throne.  The  duchess  appears  in  li.  2, 
where  she  lays  her  curse  on  her  unnatural  son,  hoping  it  may  weigh 
heavier  on  the  field  than  all  his  armour — a  saying  recalled  when  he 
is  wearied  by  his  beaver  and  his  lance  on  Bosworth  Field. 

York,  Edmund  of  Langley,  Duke  of,  a  character  in  Richard 
II.,  first  appears  in  ii.  L  In  v.  2  and  3  he  denounces  Aumerle,  his 
traitorous  son.  Coleridge  says :  "  There  is  scarcely  anything  in 
Shakspere  in  its  degree  more  admirably  drawn  than  York's  cQarac- 
ter ;  his  religious  loyalty  struggling  with  a  deep  grief  and  indigna- 
tion at  the  king's  follies ;  his  adherence  to  his  word  and  faith,  once 
given,  in  spite  of  all,  even  the  most  natural,  feelings.  You  see  in 
him  the  weakness  of  old  age,  and  the  overwhelmingness  of  circum- 
stances, for  a  time,  surmounting  his  sense  of  duty,  the  junction  of 
both  exhibited  in  his  boldness  in  words  and  feebleness  in  immediate 
act ;  and  then,  again,  his  effort  to  retrieve  himself  in  abstract  loy- 
alty, even  at  the  heavy  price  of ,  the  loss  of  his  son."  In  contrast 
with  this  view  is  that  of  Gervinus,  who  regards  York  as  the  type  of 
political  faint-heartedness  and  neutrality  and  of  cowardly  loyalty  tc 
the  strong  and  powerful,  his  weakness  carried  into  unnatural  ob- 
duracy when  he  urges  his  son's  death  under  the  fear  that  suspicion 
may  fall  upon  himself. 

York,  Edward  Plantagenet,  Duke  of,  character  in  Henry  V., 
first  appears  in  iv.  3,  where  he  asks  permission  to  lead  the  van  at 
Agincourt.  He  is  the  Aumerle  of  Richard  II.,  whose  part  in  the 
conspiracy  to  take  the  life  of  King  Henry  IV.  is  discovered  m  v.  2. 
He  was  restored  to  his  father's  title  in  1406,  and  fought  valiantly  at 
Agincourt.    His  death  on  the  field  is  described  in  Henry  /.,  iv.  6. 


418  INDEX   TO  SHAKSPERE'S   WORKS. 

He  left  no  children,  and  the  title  was  given  to  his  nephew,  who  is 
the  Duke  of  York  in  the  three  parts  of  Henry  VI. 

York,  Richard  Plantagenet,  Duke  of  (1410-1460),  character  in 
the  three  parts  of  Henry  VI.  He  was  a  son  of  the  Earl  of  Cam- 
bridge, who  was  executed  for  a  plot  against  Henry  V.,  /.  Henry  VI., 
ii.  5.  The  son  was  relieved  from  the  effects  of  his  father's  attainder 
in  1425,  and  restored  to  his  titles  and  inheritance,  Hi.  1,  and  was 
afterward  successively  Constable  of  England,  Regent  of  France,  iv. 

1,  and  Lieutenant  of  Ireland.  He  first  appears  in  ii.  4  of  the  first 
part,  in  a  quarrel  with  Somerset ;  and  it  was  under  cover  of  hostility 
to  Somerset  that  he  placed  himself  in  opposition  to  the  king.  In  v. 
3  of  the  first  part  he  captures  Joan  of  Arc.  He  is  introduced  in  the 
first  scenes  of  the  other  two  parts.  In  the  first  scene  of  the  second 
part,  and  again  in  Hi.  1,  he  declares  in  soliloquy  his  ambitious  de- 
signs.    His  pedigree  is  given,  though  not  altogether  correctly,  in  ii. 

2,  and  his  title  to  the  throne.  In  v.  1  he  defies  the  king.  In  the 
third  part,  first  scene,  Henry  consents  to  make  him  heir  to  the 
throne  that  he  has  seized,  if  he  will  give  it  up  to  him  (Henry)  dur- 
ing his  lifetime.  He  fell  at  the  battle  of  Wakefield,  and  his  head 
was  set  on  the  walls  of  York.  In  the  play,  third  part,  i.  ^,  he  is 
taken  prisoner,  and  stabbed  by  Clifford  and  afterward  by  Queen 
Margaret,  who  has  put  a  paper  crown  on  his  head.  Of  his  four  sons, 
Edmund,  Duke  of  Rutland,  was  killed  by  Clifford,  ///.  Henry  VI., 
i.  3,  just  before  his  father's  death ;  George,  Duke  of  Clarence,  was 
murdered  in  the  Tower ;  and  Edward  and  Richard  reigned  as  Ed- 
ward IV.  and  Richard  III.  {q.  v.). 

"The  principal  figure  of  the  two  plays,  Richard  of  York,  is 
almost  throughout  delineated  as  if  the  nature  of  his  more  fearful 
son  were  prefigured  in  him.  Far-fetched  policy  and  the  cunning 
and  dissimulation  of  a  prudent  and  determined  man  are  blended  in 
him — not  in  the  same  degree,  but  in  the  same  apparent  contradiction 
as  in  Richard — with  firmness,  with  a  hatred  of  flattery,  with  inability 
to  cringe,  and  with  bitter  and  genuine  discontent." — Gervixus. 

York,  Richard  Plantagenet,  Duke  of,  the  younger  of  the  two 
sons  of  King  Edward  IV.,  the  two  little  princes  who  were  imprisoned 
in  the  Tower  and  assassinated  by  order  of  their  uncle,  Richard  III. 
Although  the  weight  of  evidence  goes  to  show  that  the  princes  were 
actually  murdered,  as  in  the  play,  many  entertained  doubts  of  it, 
and  supposed  that  one  or  both  of  them  escaped.  Hence  the  claim  of 
Perkin  Warbeck,  in  the  reign  of  Henry  VII.,  to  be  Prince  Richard, 
gained  credence,  and  made  his  imposture  formidable. 

York,  sun  of,  Richard  III.,  i.  1.   Edward  IV.,  whose  cognizance 


INDEX   TO  SHAKSPERE'S    WORKS.  419 

was  a  sun,  from  the  three  suns  that  were  said  to  have  appeared  at 
the  time  of  his  victory  at  Mortimer's  Cross. 

York-place,  name  of,  changed  to  Whitehall,  Henry  VTII.,  iv.  1. 

Yorkshire,  Gualtree  Forest  in,  scene  of  //.  Henry  IV.,  iv.  1-3. 

Young",  so,  and  so  villainous.  As  You  Like  It,  i.  1 ;  the  wise 
die,  Richard  III.,  Hi.  1;  so,  and  so  untender.  King  Lear,  i.  1;  so, 
and  so  unkind,  Venus  and  Adonis,  I.  187. 

Your  love  and  pity  doth  the  impression  fill,  Sonnet  cxii. 

You  spotted  snakes,  song.  Midsummer- High fs  Dream,  ii.  2. 

Youth,  home-keeping.  Two  Gentlemen  of  Verona,  i.  1 ;  salt  of, 
left.  Merry  Wives  of  Windsor,  ii.  3 ;  men  moved  by,  Measure  for 
Pleasure,  i.  3,  near  the  end  ;  aims  and  ends  of,  Measure  for  Measure, 
i.  4;  wants  of.  Measure  for  Measure,  Hi.  1 ;  blaze  of,  AlVs  Well  that 
Ends  Well,  v.  3  ;  a,  stuff  will  not  endure,  Ihvelfth  Night,  ii.  3,  song  ; 
is  easily  amused,  //.  Henry  IV.,  v.  1 ;  advice  for,  Hamlet,  i.  3  ;  wild 
oats  of,  Hamlet,  ii.  1 ;  becomes  its  careless  livery,  Hamlet,  iv.  7 ; 
salad-days  of,  Antony  and  Cleopatra,  i.  5  ;  one's,  in  his  friends,  Son- 
net xxii. ;  cannot  live  with  age,  Passionate  Pilgrim,  xH. ;  aptness 
of,  Timon  of  Athens,  i.  1 ;  truth  of,  not  to  be  trusted,  Cymbeline, 
V.  5  ;  friendship  of,  A  Winter'' s  Tale,  i.  2  ;  melancholy  in,  Merchant 
of  Venice,  i.  2  ;  uncurbed,  II.  Henry  1 V.,  iv.  4. 

Zanies,  Love's  Labour's  Lost,  v.  2 ;  wise  men  the,  of  fools, 
Twelfth  Night,  i.  5. 

Zeal,  repaid  with  ingratitude,  Tivelfth  Night,  v.  1 ;  to  set  whole 
realms  on  fire,  Timon  of  Athens,  Hi.  3 ;  Wolsey's,  for  the  king, 
He7iry  VIII.,  Hi.  2. 

Zed,  unnecessary  letter,  Ki7ig  Lear.  ii.  2. 

Zenelophon  (or  Penelophon),  the  beggar  of  the  ballad  of  King 
Cophetua,  Love's  Labour's  Lost,  iv.  1. 

Zenith,  the,  depends  upon  a  most  auspicious  star,  The  Tempest, 
i.2. 

Ziminar,  a  devil  invoked  by  witches,  called  "  Monarch  of  the 
north,"  I.  Henry  VI.,  v.  3. 

Zodiac,  the.  in  his  glistering  coach,  Titus  Andronicus,  H.  1. 

Zodiacs  (years),  Measure  for  Measure,  i.  3. 


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